Vibrant Matter: considering how I might apply differing techniques to the same item and which may work to increase the objects vibrancy/vitality, or their ability to communicate. Also we have to know what the piece is trying to say, what conversation are we enabling.
In my work surrounding 10 tablecloths my conversation is purely what makes an object more interesting, what calls to us more. And then this might enable me/us to use this method on other items. So this is more like an experiment, applying different effects to essentially the same item to analyse what the viewer or the artist (me) finds most appealing.
Andrew Grassie: painting something to look the same, but painted. And frosted glass over the surface to loose a sense of form.
Louise Bourgeois head - anthropomorphism as per Jane Bennet
Starting quite rudimentarily just to exhaust an idea: I have added the cell contents to a napkin which is bordered by a cell membrane-like border. I haven't completed this yet.
Considering the hoard, and the hoard in terms of someone without a mental health condition. A managed hoard as it were. From my parents belongings, a collection of years old cards for me. They keep cards for many years, some more curated than others. What meaning do they have when often a card merely has a signature and no other sentimental content.
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10 tablemats £3.95. I heard their call and had to bring them home, even though I have adequate napkins/tablemats at home. Why couldn't I let them go?
Painted Tablemat. This infuriated me to make because I detest colouring in. It is the antithesis of relaxation for me. But I coloured this in with paint - but, don't tell my mother, I didn't stay in the lines. From a distance this would confuse perception, have I made a poor copy of the table mat? Is it a table mat or just a painting? Would this make the viewer look harder? I think it probably would. Would this aid communication between viewer and object? Or in other words increase the objects agency?
Embellished tablemat using vintage bead collection. I was also considering whether depleting the beads would decrease their own agency. I think if I had many more beads and they didn't feel so special I would have felt comfortable completely glitzifying this tablemat. But I couldn't bring myself to 'waste' the beads. This is a failure but also a failure to part with another item of the hoard/collection.
Altering the context slightly. Of course we put cutlery on tablemats and sometimes napkins. This is a collection of spoons I have held onto since an Italian holiday in 2008, where I couldn't face throwing away these spoons with such fun colours, and ultimately potential. We would of course not have this many spoons in one sitting, and if we did they would be silverware I imagine. I think this can be read into more than we might imagine on first look.
A clock face frosts the tablemat. This is a found item. But I like it because it makes me feel very nostalgic. I think I would have found this a very smart looking clock in 2001. And now it is junk. The potential is One Minute to Midnight - what might happen in this time? Will we lose our glass slipper? What will the next year bring??
Does this communicate with us because we recognise a face? What connections do we make with this face? A mask, a gimp mask, Mexican wrestling, spies, the mask we wear, hiding behind an exterior.
Art historical reference to make the work zero waste. The generalisation that Picasso put features in the 'wrong places'. A touch of appropriation.
The potential; what can we complete in these 31days. What is waiting to be completed. This could be filled in at any month in any year as it is non-specific. Or are we eating an apple every other day? Healthy eating - an ideology of capitalism vs the idea of make do with materials already produced. Or 30days of Yoga, or mindfulness or other ideologies we must achieve to have full lives.
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