Exploratory Project 1 Material Tins

I have made a start on the exploratory project by finding suitable material to rivet onto cans. It's been some years since I used my riveter - so I had to familiarise myself. It's one of those tools that really work better with hands much larger than mine.

While I was making these, trying a few things before deciding on exactly how the material will fit, how much of the metal will show, whether to try for neat edges or to trim trailing threads, and so on, I thought a lot about the truly reflexive process of making.

As I am relearning riveting, I remember and reconnect with the things I made with it before - the knowledge flows back into my hands. Even cutting material, the scraps remind me of the years I spent sewing, the things I have made from that very or similar material, and again, all the trains of though I had then. It is as if I pick up the motion of making, and I continue a project and a thought left even years before.

Making a thing, drawing, sewing, any process that combines the eye, the mind, the hand, have embedded within them the thoughts and feelings of that process. That state is often the joy of being an artist or making crafts, and other creative activities. It is especially noticeable when the items or processes are revisited. I can pick up things I made years ago, or contemplate a photo or drawing from before, and I can remember and relive vividly my thoughts and feelings from then. I remember who was around, or whether I had music on, or a radio play or film on in the background. I remember whether I was cold or pushing myself beyond tiredness. These secrets may be personally embedded in items - they are not what is conveyed in a piece of work, but it is the internal process, the connections and practice which enriches the process for the artist.

I was thinking about how important it is to make things, to do things, draw, paint, make, hands-on. The medium teaches so much. Taking more and more steps in to the medium, searching for ways to render what is imagined, the medium, the tools, the paper and materials, either form as intended in the hands, or more likely, will only yield to the artist when they can match their abilities with their imaginations.

Recent debate about hands-on making was highlighted by David Hockney, commenting on the use of assistants to make artworks. Although his view was apparently misrepresented, the debate about delegating the actual making of work is pertinent in many ways in current practice, and is surely only going to become more polarised.

bbc.co.uk/news/David Hockney denies criticising Damien Hirst

David Hockney working very much himself.

http://t1.gstatic.com/images?q=tbn:ANd9GcTaMzieGmj3VLDnLZUxp9dOlLXmTVV8PL7Ni83mhgymMUfmPhIpRPBsCWX3Mg

I recently came across this book by Michael Petry which is firmly on the other side of the perceived argument.

thames and hudson. The Art of Not Making. Michael Petry

Although from where I stand, I would certainly ally myself with making rather than not making, I would be interested in reading this book in due course. I don't want to entrench myself too much on one side without considering and respecting other artists practice. After all, what if I suddenly got a funded commission to produce a large amount of things which required delegation? Of course, that's rather different, but if work is routinely delegated, then what an artist misses out on! All those large and small artistic and practical decisions which comprise a work of art.

The relationship between an artist and the activities that comprise their practice is a complexity of large and small revelations, built through years of trial and training, all the way back to childhood impressions. Expertise is not only a function of time, but of commitment, belief, and talents. A great artist has a masterful relationship with their medium.

Amongst artists and art students, occasionally there will be someone who talks good art. Great ideas, ambitious meaningful artworks, yes, but we all know that at some point you have to see what it is actually possible to make, and what your abilities will drive you towards.

I have soaked the tins. I want them to rust and stain a little.

Jumble of thoughts to follow through - costume, constricted historical corseting and restricted women's' lives in previous times - parallels to contemporary times. Museum objects, unknowable outdated historical items.
Ideas of metals and rustings, ruining neglected buttons.
Ambition to get hold hold of computerised embroidery sewing machine to make silk embroidery/ contemporary own images for material (shades actually of Grayson Perry work, remaking older formats) could use my images - digital, perhaps moving image stills.#very important idea#
Ideas of making multiples of these - unique patterns on each.
Allied moving image - the taste of metals. Shadows in museums. The dust that carries molecules of ancient things.

17th February 2012