BAACC 4.1 & 4.2 by Anne Cady

Project 1 - Old Dining Room Fireplace

s24ac2 — 2024-10-04 10:38:09 UTC

I was initially drawn to the Seville tiles in the fireplace in the Old Dining Room.

s24ac2 — 2024-10-04 10:42:01 UTC

These tiles are 17th century Seville tiles and they were a later addition to the Old Dining Room. The tiles are enamelled with metallic and glass oxides which gives them a glossy finish.

s24ac2 — 2024-10-04 10:43:57 UTC

Upon looking at the fireplace more closely I noticed that I was more interested in the areas where the tiles were worn around the hearth.

s24ac2 — 2024-10-04 10:48:39 UTC

Variation of textures around the hearth. I became more and more interested in the textures and cracks in the worn tile area.

s24ac2 — 2024-10-04 10:51:26 UTC

I found a beauty in the cracks and crevices and the barely revealed tile patterns. Signs of a working fireplace.

s24ac2 — 2024-10-04 10:52:45 UTC

Some of the cracks were deep with areas missing. The colours, patterns and tones in this area are interesting.

Significant photo image

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Most of the tile detail is lost in this area but there is still beauty. This was a key photo for inspiration for my final piece.

Sketches in Old Dining Room

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Tile study drawing in pencil.

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I began sketching the detail in the centre of the tile pattern.

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Tile pattern drawing in pencil.

s24ac2 — 2024-10-04 14:50:26 UTC

Initial drawing of worn tile area.

s24ac2 — 2024-10-04 14:50:57 UTC

Whilst drawing I became interested in these crevices of the worn tiles.

s24ac2 — 2024-10-04 14:51:26 UTC

Further crevice sketch.

s24ac2 — 2024-10-04 14:55:52 UTC

I began following the fracture lines with my pencil.

s24ac2 — 2024-10-04 14:56:44 UTC

I changed to a darker pencil and liked the composition of these shapes and lines. Tabitha likened this to a map.

s24ac2 — 2024-10-04 14:57:25 UTC

Further fracture line sketch.

s24ac2 — 2024-10-04 14:57:56 UTC

I was excited about this sketch. I found it meditative following the crack lines with my eye and drawing hardly looking at the paper.

s24ac2 — 2024-10-04 14:58:22 UTC

It become more interesting when I switched from a pencil to marker pen. To me there is 'a zone of silence' in the abundance of white space around these lines.

s24ac2 — 2024-10-04 15:29:31 UTC

Began to research the history and ideas around this Japanese aesthetic in relation to the worn tiles. To me this hearth area spoke of Wabi-Sabi and I wanted to explore this more.

PROJECT 1 - Mind Map

s24ac2 — 2024-10-04 15:44:29 UTC

I was initially thinking about the 'zone of silence' being the staff tending to the fire and their hidden passage ways in the house.

s24ac2 — 2024-10-04 15:52:39 UTC

Came back to this book I read for Project 1 research.

PROJECT 1

s24ac2 — 2024-10-05 08:21:59 UTC

I made my own charcoal and ash in my log burner from twigs found on West Dean estate relating to the theme of the fireplace.

s24ac2 — 2024-10-05 08:34:14 UTC

I made this charcoal by wrapping the twigs in foil and placing in my log burner. I actually love the colours and patterns left on the heated foil. I wanted to refer to the fireplace with this component in my final piece.

s24ac2 — 2024-10-05 10:07:56 UTC

Through the window of my log burner and the tin can I used to make some West Dean ash. I enjoyed using ash to make ink in our workshop and the texture it added.

s24ac2 — 2024-10-07 13:01:26 UTC

Feeling drawn to this statement.

PROJECT 1

s24ac2 — 2024-10-07 13:03:57 UTC

Really loved this Tania Kovats piece 'All The Islands of All The Seas' and the way that they are arranged like tiles. Possible inspiration for my final piece?

s24ac2 — 2024-10-07 13:16:55 UTC

s24ac2 — 2024-10-07 13:38:52 UTC

I visited this John Walker exhibition in London recently. I loved these untitled works of ink on Japanese paper. I'm seeing tiles and grids in these.

s24ac2 — 2024-10-07 13:44:11 UTC

Another John Walker untitled piece. I loved the energy of the lines and marks of ink in this.

s24ac2 — 2024-10-07 13:46:44 UTC

Interesting mark making exercise with Mel. I'm wanting to explore ink further.

s24ac2 — 2024-10-07 13:48:59 UTC

My ink experiments during our workshop on week 1.

s24ac2 — 2024-10-07 16:15:12 UTC

Old map of West Dean area. Am interested in the lines and shapes and how they may relate to my final piece.

s24ac2 — 2024-10-18 16:04:38 UTC

Mixed hand made West Dean ash and crushed charcoal with PVA and spread with palette knife

s24ac2 — 2024-10-18 21:12:20 UTC

Starting to think about how to add in the original tile pattern.

s24ac2 — 2024-10-18 21:15:30 UTC

Found a cut off area of paper from previous ink workshop and began to play around with 'tile' patterns.

s24ac2 — 2024-10-18 21:16:02 UTC

Started to think about the fracture lines flowing into each other from one tile to the next.

s24ac2 — 2024-10-18 21:16:48 UTC

Upon looking at my tile photos I saw that many of the cracks were light in colour.

s24ac2 — 2024-10-18 21:17:58 UTC

Thinking about how to add reference to original tile colours.

s24ac2 — 2024-10-29 13:16:47 UTC

Cut squares from an ink workshop piece in the actual Seville tile size dimensions.

Starting to think about creating each tile in same sizing.

s24ac2 — 2024-10-29 13:36:26 UTC

Had a short break in Seville and found the exact tiles as those at West Dean in a hotel which was once a house from the 15th/16th century.

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Top two rows show the exact tile pattern.

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On the floor of an old Palace in Seville. Still drawn to the flawed and broken.

s24ac2 — 2024-10-29 13:42:03 UTC

Visited the old tile factory in Triana, Seville. This was one of the original kilns used.

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An original mill used to grind pigments for painting the tiles. A different mill for each colour.

s24ac2 — 2024-10-29 13:48:25 UTC

This ink work created during a workshop was a key piece in leading me to think about using ink for my final piece.

s24ac2 — 2024-10-29 13:52:28 UTC

Began to explore texture in this workshop study using texture medium and charcoal dust mixed with gum arabic. I applied both with a palette knife and used my fingers to rub paint in.

s24ac2 — 2024-10-29 13:53:42 UTC

Applied texture medium with a knife and allowed it to dry. Then experimented painting over inks with a brush or rubbing in with a cloth.

s24ac2 — 2024-10-29 13:54:16 UTC

Rubbed drawing ink into dried texture medium patterns with a cloth and added fracture lines with a dropper with white ink. The ink from the dropper was hard to control and I was not pleased with this effect.

s24ac2 — 2024-10-29 13:55:04 UTC

Really interested in these effects and the textures and patterns produced.

s24ac2 — 2024-10-29 13:55:38 UTC

A close up of a photo of the lines on the worn hearth. These patterns reminded me of Joan Miro's work. Something about the lines and the circles.

s24ac2 — 2024-10-29 13:56:06 UTC

This informed my decision to only add tiny references of colour to my last tile.

s24ac2 — 2024-10-29 13:57:00 UTC

1m x 1m squares of fabric from religious garments viewed in Andalusia Contemporary Art Gallery located in an former monastery in Seville.

s24ac2 — 2024-10-29 13:57:33 UTC

Began exploring ink effects on card which I found withstood water better. I used drawing ink, walnut ink, bleach and my home made West Dean charcoal dust dropped onto a wet ink water back ground.

s24ac2 — 2024-10-29 13:59:43 UTC

Extract from tile museum text. Thinking about 'returning to clay'.

s24ac2 — 2024-10-29 15:07:26 UTC

The tile decoration being SILENCED over time with much use. The return to clay.

Try image transfer of tile pattern onto paper. Even the rubbing action to remove the backing paper with water could be a reference to the wear on the hearth? (this was not successful)

s24ac2 — 2024-10-29 15:07:47 UTC

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s24ac2 — 2024-10-30 17:36:25 UTC

Been thinking about tending a fire. Was staff's responsibility to keep others warm. Thoughts about being a mum and my time spent looking after others.

s24ac2 — 2024-10-30 17:45:59 UTC

Should the tiles have a conversation with each other?

How many?

Further thoughts on these fracture lines as the cracks in Edward James' marriage to Tilly Losch and their eventual divorce.

s24ac2 — 2024-10-30 17:52:18 UTC

The contrast between the natural cracks in stone of hearth with glimpses of the original tile pattern mingled in.

How can I make this work within each piece?

4.1 PROJECT 1

s24ac2 — 2024-11-12 17:50:23 UTC

West Dean College of Arts and Conservation holds a collection of archives, artworks, manuscripts and letters by artists, cultural figures and associates of the house and estate, spanning centuries. Each of the objects held in the collection was made by someone and yet they remain silent. At the same time each object tells a story.  

For project 1, you will be asked to respond to an artwork or artefact from the House and Collection, using the following quotes from Virginia Woolf as prompts:  

“There is a zone of silence in the middle of every art” (Virginia Woolf, 1925) 

“Not a word sounds and yet the room is full of conversations. What are the people saying who are not sitting on the sofa, or what tune is the child playing on her silent violin?” (Woolf, 1934)  

s24ac2 — 2024-11-14 23:15:07 UTC

Thinking about adding original tile detail with Lino cut print.

s24ac2 — 2024-11-14 23:19:30 UTC

Thinking about bringing in lines from this West Dean map as fracture lines on my final piece. I went over all the lines of the map using tracing paper and pencil.

s24ac2 — 2024-11-14 23:20:23 UTC

Going over areas of the map with tracing paper and simplifying lines.

s24ac2 — 2024-11-14 23:21:32 UTC

Added a walnut ink base on top of dried texture medium rubbed in with a cloth. The ink behaved differently to my previous experiment as I added gum arabic to thicken it. I did not have to add bleach to lighten areas - I used a cloth to take off ink.

s24ac2 — 2024-11-14 23:22:29 UTC

Began applying black ink on top and will create 3 separate tiles. Had to manage the size of pools of water to add ink drops on and gently move the paper around to let it spread. Also used my fingers to rub in ink.

s24ac2 — 2024-11-14 23:24:02 UTC

Applied texture medium on areas of a stretched A1 Somerset 300gsm hot pressed paper using a palette knife to create interesting textures. Knew I needed to stretch the paper to keep it very flat once water is applied so that I could glue it onto my boards.

s24ac2 — 2024-11-14 23:27:34 UTC

Made a start cutting Lino and realised that it is very time consuming so may need to rethink!

s24ac2 — 2024-11-21 15:23:23 UTC

Thinking about IMPERMANENCE in relation to Wabi-Sabi. The impermanence of the decorative pattern and colour of the original tiles.

s24ac2 — 2024-11-21 15:24:09 UTC

s24ac2 — 2024-11-21 15:25:25 UTC

Final piece ideas forming.

s24ac2 — 2024-11-21 15:26:00 UTC

I made several more tracings of other West Dean maps and Lidar from Sarah's slides to explore how interesting these lines were to me. Thinking about how they will fit in within the composition of my ink marks.

s24ac2 — 2024-11-21 15:26:55 UTC

Testing out how much water and ink to create the effect of the dark patches on my worn hearth tiles. Also thinking about the flow and pattern of these marks from one tile to the next.

s24ac2 — 2024-11-21 15:27:17 UTC

s24ac2 — 2024-11-21 15:27:36 UTC

Interesting effect to show cracks and dark areas using dry point etching during print making workshop. Decided to stick with my original plan using inks and charcoal.

s24ac2 — 2024-11-21 15:27:59 UTC

Preferred the effect with water of my drawing ink compared to Quink.

s24ac2 — 2024-11-21 15:28:33 UTC

s24ac2 — 2024-11-21 15:29:04 UTC

s24ac2 — 2024-11-21 15:31:09 UTC

I wanted each tile from left to right to reveal less and less original tile detail and pattern. This was to show a passage of time and the elimination of decoration. Almost like a return to the clay from which they came.

s24ac2 — 2024-11-21 15:31:41 UTC

Less original tile pattern revealed in this next tile. I was also aware that the fracture lines must not dominate the composition too much. I wanted to leave large areas around all the detail to give the eye a rest and to create 'a silence'.

s24ac2 — 2024-11-21 15:32:25 UTC

This last tile only reveals two small remnants of blue and yellow.

Decided to give the triptych the title 'IMPERMANENCE'.

s24ac2 — 2024-11-21 15:32:51 UTC

In response to this project's prompt, I wanted to show that the original vibrant, highly decorative tile pattern on the hearth was silenced. This was due to it's function as a working fireplace and the constant kneeling, sweeping and tending the fire.

s24ac2 — 2024-11-21 15:33:28 UTC

Thoughts about final piece...

s24ac2 — 2024-11-21 15:33:53 UTC

These thoughts informed the title of my final piece.

s24ac2 — 2024-11-21 15:34:28 UTC

I used my simplified map tracing lines to hold over my ink work to decide how they would work with the composition of each tile.

s24ac2 — 2024-11-21 15:34:58 UTC

I added some burnt sienna pastel in areas using my fingers dipped in pastel dust and rubbed it into the surface. Then the fracture/map lines in pencil.

s24ac2 — 2024-11-21 15:35:26 UTC

Put a lot of thought into how I was going to bring in something of the original tile detail. Decided against collage or block print from lino cut. I wanted the effect to be very delicate to highlight the impermanence of the decorative tile. I did not want to add any water at this stage so I applied pastel dust to areas with cotton buds and blending stumps.

s24ac2 — 2024-11-21 15:48:07 UTC

Susan Collis, 'It's lighter than you think' , pencil and ink on paper wrapped around board, 2023.

Tabitha introduced me to this artist's work in relation to my thoughts of displaying my tiles on the floor.

KEYWORDS

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IMPERMANENCE

TRANSIENCE

SILENCED

FRACTURES

REMEMBRANCE

s24ac2 — 2024-11-21 15:58:01 UTC

Extract from 'Wabi-Sabi for Artists, Designers, Poets and Philosophers by Leonard Koren.

Felt it was very relevant to the worn and faded colouring of the Seville tiles.

s24ac2 — 2024-11-21 16:35:23 UTC

Came back to this photo of mine and wanted to create a reference to these dark patches with ink.

s24ac2 — 2024-11-22 10:59:28 UTC

I also worked on a smaller size of the same paper stretched on another board. This served as a practice piece in the end which was very useful. The board was not thick enough and warped with the soaking of the paper so that it was not flat.

Decided that I would create a triptych of 'tiles' in the same dimensions as the original Seville tiles.

s24ac2 — 2024-11-22 11:09:34 UTC

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I had to make sure all my wet media work was done before I cut each 3 works from the stretching board. I glued them to 26cm x 26cm square 1.8mm thick primed MDF boards using Spray Mount which worked really well.

s24ac2 — 2024-11-22 11:47:35 UTC

Mixed my crushed West Dean charcoal and ash with gum arabic and added this to areas with a palette knife to add more texture. I also rubbed in the charcoal dust into the surface with my fingers, revealing more of the textures.

s24ac2 — 2024-11-25 20:08:06 UTC

At the review I decided to display my work low down on the floor at the level of a hearth. I lit a candle as a reference to the fireplace and I asked everyone to gather around. We had to crouch down low to see the detail in this work. It was uncomfortable but I wanted us to remember the staff of the house who tended this fireplace over the years and to all those who gathered around its warmth.

s24ac2 — 2024-11-25 20:08:26 UTC

s24ac2 — 2024-11-25 20:09:00 UTC

Presentation of my final piece at the review.

Project 1 Group Exhibition

s24ac2 — 2024-11-28 13:01:45 UTC

I found the setting up of this gallery space such an interesting exercise in itself. It was a very rewarding experience exhibiting as a group.

s24ac2 — 2024-11-28 13:04:58 UTC

Caught this image when the sunlight was shining directly onto the tile and the varying textures can be seen clearly.

4.1 PROJECT 2

s24ac2 — 2024-12-09 15:27:39 UTC

The collection and archives form only a part of the West Dean estate, which is made up of 6,400 acres including a ‘rejuvenated’ historic garden, 13 restored Victorian glasshouses a walled Victorian kitchen garden an Edwardian Pergola designed by Harold Peto as well as the Spring Garden, the award winning Sunken Garden, orchards and a 2 ½ mile circular arboretum walk where you will find Edward James grave, all set in 50 acres of parkland.   For Project 1 you selected and told the story of an object from the house. For this new project we are asking you to select an object (organic or inorganic) from outside and to compare/describe/connect/deconstruct/ in comparison to your first project/object or a new object from the house. 

s24ac2 — 2024-12-09 15:38:38 UTC

Project 2 is about making connections, relationships, narratives. How does the outside inform the inside and vice versa as well as asking questions about our relationship with these two distinct places. How do we navigate them, in what ways does one inspire the other.  The outcome for this project is an artwork or series of works in your preferred medium exploring the complexities as well as similarities of your two objects.   

Initial Inspiration...

s24ac2 — 2024-12-09 15:40:40 UTC

Walking around West Dean Gardens I was drawn to the yellow and white lichen on the stone pergola columns.

s24ac2 — 2024-12-09 15:41:03 UTC

Intrigued by the detail in the yellow lichen. Seeing that a yellow ochre is going to be a significant colour in my work.

s24ac2 — 2024-12-09 15:41:46 UTC

s24ac2 — 2024-12-09 15:42:25 UTC

Lichen growing on the urn in the orchard at West Dean.

s24ac2 — 2024-12-09 15:51:50 UTC

Lichen on a tree at West Dean lit by torch at night.

PROJECT 2

s24ac2 — 2024-12-09 16:31:38 UTC

Started looking into how to make natural ink. Thinking about yellow blots of ink to represent the lichen.

s24ac2 — 2024-12-09 16:36:27 UTC

Am still fascinated by Tania Kovats work and her relationship with water and the landscape. Listened to these podcasts.

PROJECT 2

s24ac2 — 2024-12-09 16:39:54 UTC

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PROJECT 2

s24ac2 — 2024-12-09 16:50:55 UTC

Went on a blind embossing short course with Caroline Wendling. Thinking about creating paper leaf litter.

s24ac2 — 2024-12-09 16:55:47 UTC

Wanting to explore the medium of ink further. Looking into making natural yellow ink from dye garden at WD. Yarrow, Tansy and Mahonia are possibilities.

s24ac2 — 2024-12-09 17:15:39 UTC

IMPERMANENCE of the manmade structure of the pergola columns. The lichen is very slowly breaking down the stone through chemical and physical processes.

Lichen on stone is considered Wabi-Sabi in relation to my theme in Project 1.

s24ac2 — 2024-12-09 17:24:44 UTC

Experiment with different textures and thicknesses of paper. Ink blots on papers and then crease and crumple them?

Tania Kovats frozen ink idea?

s24ac2 — 2024-12-11 15:06:41 UTC

Thumbnail sketches from garden photos

PROJECT 2

s24ac2 — 2024-12-11 15:07:26 UTC

Field notes from walk around West Dean gardens.

s24ac2 — 2024-12-11 15:07:51 UTC

Further field notes.

s24ac2 — 2024-12-17 15:14:31 UTC

Read this book as background to this project's prompts.

NARRATIVE

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Beauty with imperfection.

Thankless tasks.

Reverence for the mundane.

Impermanence.

PROJECT 2

s24ac2 — 2024-12-18 14:07:52 UTC

Noticed this yellow lichen on gravestones. This article highlights the importance of lichen for our understanding of the health of our environment.

s24ac2 — 2024-12-18 14:23:00 UTC

Thinking about larger work. Yellow and dark inks on Japanese paper or muslin? Hanging downwards in one of the glasshouses.

s24ac2 — 2024-12-18 14:35:25 UTC

Loved this work by Barbara Nicholls and the fluidity of the paint creating these beautiful shapes. Am aiming for a more organic effect in my final piece.

s24ac2 — 2025-01-01 18:04:16 UTC

s24ac2 — 2025-01-01 21:13:07 UTC

This wall papered photo mount highlights the complexity of the surface of lichen.

s24ac2 — 2025-01-09 09:09:48 UTC

Vanessa Rolf workshop, ghost objects

s24ac2 — 2025-01-09 09:10:14 UTC

Began tracing around the outlines of lichen from my photos and cut out the shapes.

s24ac2 — 2025-01-09 09:12:11 UTC

I found it interesting breaking these lichen and leaf images to a very simple state and the shapes of cut out areas.

s24ac2 — 2025-01-13 13:31:44 UTC

I experimented with inks dropped onto damp water out in below freezing temperatures. Interesting patterns developed as the water and ice froze.

s24ac2 — 2025-01-13 13:32:52 UTC

I began trying out the inks in below freezing temperatures outside using different papers. Scrunched up one piece as inspired by Emma McNally's work to disrupt the surface.

s24ac2 — 2025-01-13 13:33:29 UTC

Was interesting observing the ink work once the ink and water thawed and was dried indoors. This was Japanese printing paper scrunched up. Thinking about some of my paper hanging and scrunched up in area at the bottom?

s24ac2 — 2025-01-13 13:34:19 UTC

Trying out black and yellow ink together and how it bleeds together in relation to my final piece in these colours.

s24ac2 — 2025-01-13 13:35:28 UTC

Went to this exhibition in Margate and found it really inspiring. Was interested in Anya Gallaccio's themes of impermanence in her work.

s24ac2 — 2025-01-13 13:38:15 UTC

Was intrigued by these large marbling works on paper called 'Margate'. Gallaccio has used ground up pigments of apple and ash charcoal, mussel shells, chalk, sand, earth and oak gall.

My first essay is based on these works and I have spent time researching this artist.

s24ac2 — 2025-01-13 13:42:36 UTC

Picked some Winter Jasmine flowers from my garden and boiled them in water. I then strained the liquid through some muslin and reduced it further in the pan. I only made a very small amount of ink.

s24ac2 — 2025-01-13 13:43:32 UTC

Have been researching traditional methods for Ebru paper marbling and how to prepare the paper with Alum. Irish sea moss is used to thicken the water bath.

s24ac2 — 2025-01-13 13:49:35 UTC

s24ac2 — 2025-01-13 13:57:12 UTC

Japanese paper hanging in WD Glasshouse? Black and yellow ink work. Try marbling inspired from Anya Gallaccio's exhibition. Also add texture from crushed stone found at bottom of pergola columns.

This time let paper warp and buckle - IMPERFECTION. Maybe have paper crumpled at the bottom inspired by Emma McNally's work?

s24ac2 — 2025-01-13 14:00:20 UTC

DISRUPTION OF A SURFACE

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s24ac2 — 2025-01-13 14:05:27 UTC

Edwardian Pergola designed by Harold Peto in WD Gardens.

s24ac2 — 2025-01-13 14:10:35 UTC

When I held this ink on Japanese printing paper to the light I had the idea of hanging the final piece in one of the glasshouses at WD as they are very light filled spaces.

Also thinking about sunlight and IMPERMANENCE.

s24ac2 — 2025-01-14 13:41:58 UTC

This is the resulting colour of my home made ink. I realised that you need a lot of plant matter to make a greater volume of ink and for more intensity of colour.

s24ac2 — 2025-01-14 14:13:25 UTC

Lichen is a combination of fungi, bacteria and algae. Am starting to read this fascinating book. Interesting to note that 'lichens encrust as much as 8% of the planet's surface.'

s24ac2 — 2025-01-14 14:22:56 UTC

Links to Project 1:

The surface of the man made being disrupted by nature, time and decay.

s24ac2 — 2025-01-20 17:14:16 UTC

Found this helpful to start trying out this technique.

s24ac2 — 2025-01-23 12:15:37 UTC

s24ac2 — 2025-02-01 12:12:44 UTC

Also thinking about sunlight and IMPERMANENCE in relation to hanging my work in the glasshouse. The permanence of the ink being affected, especially those that are hand made from natural pigments.

s24ac2 — 2025-02-01 12:19:59 UTC

Started to experiment with carrageenan powder to thicken water. I actually used the wrong type which turned into a thick gel but got some really interesting effects when I dropped ink onto it.

s24ac2 — 2025-02-01 12:20:23 UTC

The Indian ink created tendrils much like lichen.

s24ac2 — 2025-02-01 12:20:58 UTC

s24ac2 — 2025-02-01 12:21:29 UTC

Began taking prints off the surface of the gel using different papers: Japanese paper, newsprint and copy paper.

s24ac2 — 2025-02-01 12:22:13 UTC

Sometimes I disrupted the surface of the paper before and after taking the print by scrunching - in contrast to the perfectly flat work of Project 1.

s24ac2 — 2025-02-01 12:31:21 UTC

Been reading this book and in particular about the theme of IMPERMANENCE began in Project 1. Also about decay and nature making it's mark upon the man-made. The ash stains on the hearth tiles, the lichen growing on the pergola. That lichen breaks down stone with the acid it produces.

s24ac2 — 2025-02-01 13:02:03 UTC

Came to West Dean for a short course with Katie Sollohub on mark-making and meditation. We spent time outside and I was interested in the marks and shapes I produced as a response. Like organic lichen shapes on a tree trunk.

s24ac2 — 2025-02-04 11:56:51 UTC

Now using the correct carrageenan powder and the diluted acrylic paint is now sitting on the surface better. Lovely feathering around the edges of the Indian ink again.

s24ac2 — 2025-02-04 11:57:22 UTC

The first print I took from the surface using copy paper. Feeling that the yellow ink needs to be stronger in intensity.

s24ac2 — 2025-02-04 11:57:54 UTC

Yellow and white paint splashed onto the surface using a dropper and brush.

s24ac2 — 2025-02-04 11:58:14 UTC

I scrunched up the paper before adding it to the surface and am pleased with this effect.

s24ac2 — 2025-02-04 11:58:34 UTC

I used drawing ink and was also pleased with the patterns it left.

s24ac2 — 2025-02-04 11:58:53 UTC

I then tried using Quink on the surface and this effect was interesting but I could not remove this ink from the size and had to discard the contents unfortunately.

s24ac2 — 2025-02-04 12:20:36 UTC

Realising that the paper marbling process is tricky and having to think about whether I can do this on a larger scale.

Have abandoned the idea of using Japanese printing paper. It was far too fragile and could not take the weight of the size when pulling it off the surface.

s24ac2 — 2025-02-05 11:20:10 UTC

Second quarter 20th century (made). I plan to visit her current exhibition at the Dulwich Picture Gallery.

s24ac2 — 2025-02-05 11:25:31 UTC

Lichen prints by Ernst Haeckel, 1904.

s24ac2 — 2025-02-24 14:19:36 UTC

Read this interesting book for more ideas on making my own inks.

s24ac2 — 2025-02-24 14:25:35 UTC

Had a productive studio day at West Dean. Started with small scale marbling studies. Was pleased with these initial results. I loved the lichen patterns on the black Indian ink and wanted to recreate these with the yellow.

s24ac2 — 2025-02-24 14:25:59 UTC

I then mixed shellac with some yellow ochre powdered pigment then tried gum arabic and pigment. These were unsuccessful as the gum arabic ink sunk to the bottom of the size and the shellac broke up and washed off in the rinsing process.

s24ac2 — 2025-02-24 14:26:39 UTC

This was my first attempt at using the large marbling tray and much larger paper. I was using 80gsm paper in order to pick up all the pattern. This proved very tricky in the lifting off and rinsing process. This paper tore under the weight of liquid but I was really pleased with the result.

s24ac2 — 2025-02-24 14:27:06 UTC

I realised that I needed help to lift the large paper and rinse it off. Thanks to Mel for helping me with these last two as the sheets both remained intact. I was noticing that the ink was not staying on the surface of the size very well and was starting to sink.

s24ac2 — 2025-02-24 14:27:32 UTC

I was losing the intensity of the yellow as the ink kept sinking to the bottom of the tray. It was very warm in the print room so this was having an effect on the carrageenan size and the surface tension.

First Large Scale Marbling Attempt - WD Print room

s24ac2 — 2025-02-24 14:28:16 UTC

I wanted to create organic shapes on the surface. This was achieved by using either a dropper of ink or a fan shaped paint brush dipped in ink and flicked onto the surface.

s24ac2 — 2025-02-24 14:30:08 UTC

I used Indian ink, white acrylic ink and yellow inks with powdered yellow ochre pigment to intensify the colour. The patterns are constantly moving and changing and fascinating to watch.

s24ac2 — 2025-02-24 14:34:53 UTC

s24ac2 — 2025-02-24 15:14:36 UTC

I tried using 80gsm copy paper in A4 size and I liked that it was fragile. It was creasing, buckling and tearing. I want this to be in contrast to my Project 1 - stretched flat and smooth paper surface.

s24ac2 — 2025-02-24 15:30:02 UTC

s24ac2 — 2025-02-24 15:32:35 UTC

s24ac2 — 2025-02-25 11:51:46 UTC

Life is blemished and golden
moonglow, a lichen borne of love,
the fruiting body you did not become.
Or did you?
Extract from 'Lichen' by Taylor Strickland

Second Large Scale Marbling Day

s24ac2 — 2025-02-26 08:21:20 UTC

It is best to start adding the dark colours first and building up to light.

s24ac2 — 2025-02-26 08:21:41 UTC

By this point areas of the yellow ink had sunk to the bottom of the tray so in terms of composition I was going in blind on the surface of the size.

s24ac2 — 2025-02-26 08:21:58 UTC

Once a desired pattern is achieved you have to work quickly to carefully place the alum treated side of paper onto the surface and press gently all over.

s24ac2 — 2025-02-26 08:22:26 UTC

You can see in this image where there are areas where the yellow ink has sunk. Was interesting adding a drop of Indian ink to white ink.

s24ac2 — 2025-02-26 08:28:19 UTC

Once the paper is lifted off the surface it must be rinsed with water to take off excess carrageenan size and as the paper has been treated with alum, the ink remains.

s24ac2 — 2025-02-26 08:28:37 UTC

This piece and the previous one are on cold pressed watercolour paper so it has a bit of texture. I am especially pleased with these. I have also added a few areas of my own hand made ink from winter Jasmine flowers.

s24ac2 — 2025-02-26 08:29:10 UTC

This piece was on cartridge paper with more buckling of the paper surface. As well as Indian ink I have added my hand made black ink from my own West Dean charcoal mixed with gum arabic.

s24ac2 — 2025-02-26 08:29:29 UTC

This piece and the next were on stone coloured sugar paper after the surface of my size was cleaned with a sheet of newsprint.

s24ac2 — 2025-02-28 16:20:52 UTC

Fascinating watching this clip of lichen growing and the similarities in marbling process. My marbling effect is a reference to lichen spores multiplying.

s24ac2 — 2025-02-28 16:22:08 UTC

Thinking about a colour scheme for my work - yellow, white, black and grey to represent lichen on stone.

s24ac2 — 2025-02-28 16:30:14 UTC

Further reading on Anya Gallaccio's themes of decay and impermanence.

s24ac2 — 2025-02-28 16:58:46 UTC

I used some seed heads from West Dean gardens to create some feathering marks in this piece. Although feathering patterns are traditional in Ebru marbling, it was not the effect I was after.

s24ac2 — 2025-02-28 17:16:16 UTC

s24ac2 — 2025-02-28 17:37:57 UTC

An example of beautiful illustrations from the book, 'The Colour History of Swedish Lichens, Johan Peter, 1805 about lichen dyes.

s24ac2 — 2025-03-03 11:48:36 UTC

I found it added significant dimension to this Project 2 work as I was working outdoors. I had to pay attention to the weather forecast so that there was no rain. A spider was trapped in the size and is now on one of my prints along with a muddy cat's paw print!

s24ac2 — 2025-03-03 14:37:11 UTC

On the day of our review I plan to hang at least 3 of these works by magnets onto the metal rails in the glass house. I would like us to be able to view a glimpse of the work from the outside of the windows looking in and most from the inside.

s24ac2 — 2025-03-03 14:42:41 UTC

Thinking about artwork displayed in glasshouses. This beautiful work is by Dale Chihuly.

s24ac2 — 2025-03-03 15:29:14 UTC

It was hard for me to not keep adding to this work. On some I wanted to balance out the composition by adding my own marks but I kept being drawn back to the word IMPERFECTION. I wanted the marbling process to speak for itself.

s24ac2 — 2025-03-03 16:08:15 UTC

It would be interesting to leave one piece of my work in the glass house over the summer to see how the strong sunlight and warmth affect the permanence of the inks used. Thinking about Anya Gallaccios installations changing over time.

s24ac2 — 2025-03-06 17:00:44 UTC

Thinking about the title 'BLEMISH?' inspired from the poem by Taylor Strickland below.

s24ac2 — 2025-03-07 14:39:41 UTC

The title of my work for Project 2 is 'BLEMISH?'

I have written a short poem to accompany my work inspired from poetry by Taylor Strickland.

Lichen on stone

A blemish?

Or something exquisite?

Nature's mark-making

The audacity of the yellow!

It cries out

LOOK AT ME!

A beautiful symbiosis?

Or agent of destruction?

s24ac2 — 2025-03-07 14:46:15 UTC

In this work I continue my theme around IMPERMANENCE and IMPERFECTION. These elements are central to the Japanese philosophy of Wabi-Sabi I explored in Project 1.

s24ac2 — 2025-03-07 14:48:20 UTC

I am especially thinking about IMPERFECTION and the beauty in it. In Project 2, I wanted to take it further and let imperfection show in my work. This was very hard for me to do!

I wanted the marbling process and technique to speak for itself. A capturing of a moment in time.

s24ac2 — 2025-03-08 15:32:18 UTC

This was placed next to my work in the glasshouse on the day of my review.

s24ac2 — 2025-03-10 21:17:31 UTC

Blossom had appeared on the trees in this glasshouse since my last visit. The scent of it was in the air and the sound of bees around it. There was a gentle breeze causing the work to move gently.

s24ac2 — 2025-03-11 07:58:01 UTC

During this hanging I was able to observe my work in different light - cloud cover and sunshine. The light in this glasshouse caused the paper to be more transparent and more detail in the work could be seen.

s24ac2 — 2025-03-11 07:58:56 UTC

A page from the historical marbling book by Richard Wolfe shown in the tile above. I am exploring this technique further and will be on a short course for this in April.

s24ac2 — 2025-03-11 07:59:15 UTC

s24ac2 — 2025-03-11 08:00:00 UTC

Some mint plants had also been brought in.

s24ac2 — 2025-03-11 08:00:49 UTC

I am grateful that I had the opportunity to display my work in this beautiful setting.

s24ac2 — 2025-03-13 17:35:17 UTC

These next few photos show the detail in this work. So many varied patterns.

s24ac2 — 2025-03-13 17:35:36 UTC

s24ac2 — 2025-03-13 17:36:06 UTC

s24ac2 — 2025-03-13 17:36:32 UTC

s24ac2 — 2025-03-13 17:36:52 UTC

s24ac2 — 2025-03-13 17:37:16 UTC

The Indian ink produced an effective lichen-like effect.

s24ac2 — 2025-03-16 09:44:32 UTC

Went to see the Tirzah Garwood exhibition at the Dulwich Picture Gallery. Saw her marbling works up close. Was interesting to see that she produced her work in separate layers.

Project 3

s24ac2 — 2025-03-20 16:39:33 UTC

Thinking about marbling onto sheer fabric and the hanging of it.

Project 3

s24ac2 — 2025-03-20 16:47:24 UTC

I like the idea of the audience being able to walk amongst the hanging works.

s24ac2 — 2025-03-20 16:53:58 UTC

I would like to use a sheer fabric so that the pattern can be seen from the front and the back. Maybe a muslin, chiffon or gauze?

Project 3

s24ac2 — 2025-03-20 16:59:21 UTC

Interesting to see fabric marbling on a large scale. Am thinking about using fabric in this next project.

s24ac2 — 2025-03-20 17:00:20 UTC

Thinking about the word TRANSPARENCY and why this is important to me.

s24ac2 — 2025-03-20 17:43:06 UTC

s24ac2 — 2025-03-20 17:43:32 UTC

Love these natural dyed fabrics and the IMPERFECTION of it - frayed edges, gaps and puckering.

s24ac2 — 2025-03-24 20:22:22 UTC

s24ac2 — 2025-03-31 15:03:01 UTC

Loved these hanging works by Kristen Perers.

s24ac2 — 2025-03-31 15:08:36 UTC

Thinking about whether to hang Project 3 work inside with the group or outside from the pergola? Feel my colour choices would be affected by what is growing around the pergola in June.

Project 3

s24ac2 — 2025-03-31 16:18:48 UTC

Writing your own brief or finding inspiration is an important aspect of being an artist. For this final project you will have the opportunity to identify your own a line of enquiry based on your first two projects.

How might you further develop what you have achieved to date? Was there something that piqued your interest that you would like to investigate further. This is your project based on Projects 1 & 2. You may want to further extend what you have been working on or you may want to take your work in a new direction.

Project 3 begins with prompts to support the development of your own project, encouraging an investigative, exploratory approach where your studio space will resemble an operations room with images, text, maps, drawings and timeline that will detail how Project 3 will manifest.

s24ac2 — 2025-03-31 16:21:29 UTC

Also - how and where will your work be displayed for assessment?

Project 3

s24ac2 — 2025-04-01 11:25:52 UTC

Experimenting with stretching and pulling the fibres of raw muslin cloth. Bringing IMPERFECTION in.

s24ac2 — 2025-04-01 11:28:53 UTC

Stitched in a vein of gold thread and thinking about Kintsugi - the mending of the broken with gold. Bringing beauty out of imperfection.

s24ac2 — 2025-04-09 15:18:00 UTC

Went to see the pergola whilst at WD recently. Saw that the beams are much higher than I remembered. Am now thinking about hanging my work in the Old Dairy with the rest of us and had a look at the ceiling with Anita. She is also hanging work so I will need to liaise with her.

s24ac2 — 2025-04-09 15:50:48 UTC

I like that the pattern can be manipulated with a fan, the breath or the air outside if I create my work outdoors again.

s24ac2 — 2025-04-09 16:00:41 UTC

Suminagashi was traditionally used by Shinto priests and Buddhist monks to commune with nature in meditation. The constantly evolving fluidity of suminagashi lends itself well to a meditative practice.

s24ac2 — 2025-04-09 17:12:11 UTC

s24ac2 — 2025-04-14 14:34:28 UTC

7 Japanese aesthetic principles:

Fukinsei (不均斉): irregularity, asymmetry
Kanso (簡素): simplicity or elimination of clutter
Koko (考古): basic, weathered, and raw beauty
Shizen (自然): naturalness or originality
Yūgen (幽玄): a profound sense of mystery and depth in beauty
Datsuzoku (脱俗): a break from conventions and norms
Seijaku (静寂): a sense of calm and tranquility

s24ac2 — 2025-04-14 15:48:54 UTC

Looking at each of the 7 Japanese aesthetic principles in more detail.

s24ac2 — 2025-04-14 16:02:41 UTC

Thinking about TRANSPARENCY and find this book by photographer Miho Kajioka inspiring in that it was printed on tracing paper so each page is transparent. She embraces the wabi-sabi concept.

s24ac2 — 2025-04-15 10:43:09 UTC

History of Suminagashi. It was practiced in Japan as early as the 12th century and pre dates Turkish Ebru marbling.

s24ac2 — 2025-04-21 20:57:16 UTC

Watching tutorials to learn this new technique.

s24ac2 — 2025-04-26 21:21:22 UTC

Looking into creating a book to accompany my work and researching simple Japanese book binding techniques.

s24ac2 — 2025-04-29 07:10:50 UTC

Been immersing myself in the concept of Wabi-Sabi.

s24ac2 — 2025-04-29 16:02:49 UTC

Have abandoned the idea of using muslin as the fabric did not lay flat enough on the water surface to take the ink pattern well.

Project 3

s24ac2 — 2025-04-29 16:05:20 UTC

Had a productive and useful studio day at WD. I was able to experiment with different black inks and see how they behaved on the water surface. Out of all the inks I tried the Winsor an Newton and traditional Sumi ink were the most successful. I also tried out different papers, copy paper, teabag paper, tracing paper, Washi paper, muslin and silk.

s24ac2 — 2025-04-29 16:10:27 UTC

I did not have success with using Golden High Flow acrylic in Burnt Sienna. It expanded too much on the surface of the water and only produced a very faint colour.

s24ac2 — 2025-04-29 19:58:27 UTC

Thinking about my hanging work and taking inspiration from Japanese hanging scrolls commonly found hanging in Tea Ceremony rooms.

s24ac2 — 2025-04-29 20:16:29 UTC

A theme running through Project 1 and 2 was the Japanese philosophy of Wabi-Sabi - the beauty in imperfection and impermanence. It is this that I have become increasingly interested in for Project 3 alongside other Japanese aesthetic principles.

s24ac2 — 2025-04-30 14:03:55 UTC

The empty tea bag papers I separated to make one long length. This was not easy and had to be done slowly. Most of the papers tore in this process giving imperfect edges which is in line with wabi-sabi.

s24ac2 — 2025-04-30 14:04:19 UTC

Wabi-sabi is traditionally associated with the Japanese Tea Ceremony. I am really pleased with this tea-stained effect as they make the paper look aged which is in line with Wabi-Sabi.

s24ac2 — 2025-04-30 14:36:09 UTC

My set up in the garden. As expected, the movement of the air outside was constantly moving the pattern of ink. It was important to me that it was a very mindful process and I love that the wind and my own breath was making its mark.

s24ac2 — 2025-04-30 14:36:37 UTC

This shows how well the teabags pick up the ink pattern from the water surface. I did not need to treat these papers with alum as a mordant beforehand. The Sumi ink was the most permanent after the paper was rinsed in water.

s24ac2 — 2025-04-30 14:39:47 UTC

I tried marbling onto some sheets of unperforated wet strength teabag paper. This was not as absorbent as the teabags and the ink ran off too much when rinsed.

s24ac2 — 2025-04-30 14:43:09 UTC

In my reading about the history of Suminagashi I discovered that prayers were written on the marbled papers. I am experimenting with printing some extracts of prayers in Japanese from the Psalms in the Bible of which are meaningful to me.

s24ac2 — 2025-04-30 14:43:53 UTC

This is a section from a cut teabag glued onto paper with PVA. I like the space around the borders of the delicate pattern and this is in line with the Japanese concept of Ma - a sense of space in between things. I am thinking about my hanging work needing these borders to rest the eye.

s24ac2 — 2025-04-30 14:44:31 UTC

Thinking about the concept of Wabi-Sabi in terms of textures and created this background from texture medium applied with a palette knife. I then glued on a section of teabag. I love how some of the edges on the bags are torn. They are not easy to separate.

s24ac2 — 2025-04-30 14:47:11 UTC

I gathered some of my work around me to try to bring some clarity in the direction I want to go.

s24ac2 — 2025-04-30 14:47:41 UTC

Played around with arranging my marbling in a long hanging scroll orientation. I like the contrast with the patterned tea stained central piece with the plain borders.

s24ac2 — 2025-04-30 14:58:49 UTC

I was pleased to find out that I can print onto good quality A4 tracing paper from photos of my marbling work. This is how I want to produce my book to accompany my hanging works.

s24ac2 — 2025-04-30 15:17:24 UTC

I’m pleased with my small teabag prints and am starting to think more about using these rather than producing some marbled prints onto large sheets of paper.

s24ac2 — 2025-04-30 15:20:27 UTC

I had a good result on 100% silk fabric and began experimenting by using my cat's whisker, straws, a fan and my own breath to manipulate the pattern.

s24ac2 — 2025-05-05 20:05:51 UTC

Went to see the Craft of Carpentry exhibition at Japan House in London. Was inspired by the plane shaving sheets over this ink on paper work. The scent of the wood in this exhibition was also inspiring.

s24ac2 — 2025-05-05 20:11:30 UTC

Collected some planed wood shavings from the woodwork studios at WD inspired by the Japanese work at Japan House to see if I could marble onto them. I flattened them with a low heat iron first and was pleased with how well they soaked up the ink pattern.

s24ac2 — 2025-05-05 20:13:36 UTC

Interesting chapter in this book about wabi-sabi in relation to design.

s24ac2 — 2025-05-07 11:57:49 UTC

s24ac2 — 2025-05-07 11:58:05 UTC

Decided to work on this book in my own time after the Project assessment as I realise that I will not have time.

s24ac2 — 2025-05-07 11:58:25 UTC

Helpful book exploring the history of this technique with practical instructions.

s24ac2 — 2025-05-07 12:14:26 UTC

Been looking at Japanese aesthetic principles in relation to this project of which simplicity is one. I am aware of trying not to over complicate this work.

Wabi-sabi means beauty in simplicity or rustic elegance and I am holding this in mind.

s24ac2 — 2025-05-07 12:31:34 UTC

I thought it was interesting extending some ink marks down into the white space. I may bring this into my final piece.

s24ac2 — 2025-05-07 13:58:42 UTC

Wabi-sabi is a Japanese philosophy so I have now been exploring the ancient art of Suminagashi marbling of which this is an example.

s24ac2 — 2025-05-21 07:37:58 UTC

A Japanese Tea House in the British Museum. A reference to the Tea Ceremony being very significant in the beginnings of the concept of Wabi-sabi.

s24ac2 — 2025-05-21 07:38:26 UTC

Viewed the hanging scrolls in the Japan rooms at the British Museum.

s24ac2 — 2025-05-21 07:38:51 UTC

Saw the beautiful Hiroshige exhibition at the British Museum.

s24ac2 — 2025-05-21 07:39:15 UTC

Went to see Japanese photographer's work (Miho Kajioka) at Photo London. Her work is influenced by wabi-sabi.

s24ac2 — 2025-05-21 07:43:51 UTC

Was taught the technique of gold leaf at West Dean and plan to highlight areas on my work as a reference to the Japanese ceramic mending technique of Kintsugi. Ancient suminagashi marbling also had the addition of gold leaf adornment.

s24ac2 — 2025-05-21 07:44:29 UTC

I was recommended this pink size for very fine detailed gold leaf work but it was not as effective as the Wrights of Lymm brand I used at West Dean.

s24ac2 — 2025-05-21 07:45:02 UTC

These teabag papers were soaked in hot Japanese tea for a few hours and dried before marbling.

s24ac2 — 2025-05-21 07:46:33 UTC

Experimented with this marbling technique in a large water bath with thicker teabag paper. This paper was not as absorbent and there was some ink run off after lifting it from the water. I also did not like how this paper moved when it was hung.

s24ac2 — 2025-05-21 07:46:49 UTC

Then pre-prepared this tea stained teabag paper with an alum mordant which helped to decrease the ink running off but still not so pleased with this result. This was on a much larger scale and I was not happy with the thicker paper.

s24ac2 — 2025-05-21 07:47:23 UTC

Found a lovely piece of Yew from the furniture department and thinking about displaying my wood shavings on something like this.

s24ac2 — 2025-05-21 07:47:51 UTC

Began trying to plan a rough layout of how many lengths to hang? How long each should be? What combination of colours and pattern? Decided on 3 lengths.

s24ac2 — 2025-05-21 08:11:44 UTC

Began to glue the sections together with methyl cellulose glue which is a more natural product than PVA and does not leave a plastic coating.

s24ac2 — 2025-05-24 16:58:19 UTC

Interesting to hear that Edmund De Waal's work is heavily influenced by his time in Japan.

s24ac2 — 2025-05-24 17:02:15 UTC

Trying to find the best way to add gold leaf to this perforated absorbent teabag paper. Having to shorten the drying time of the size for the finer work and go over sections again where the gold has not stuck.

My Brief for Project 3

s24ac2 — 2025-06-02 14:37:33 UTC

Japanese aesthetics emphasise a mindful and holistic approach to beauty. In projects 1 and 2 you showed a curiosity in the concept of wabi-sabi, concerning beauty in imperfection and impermanence. How might you further investigate Japanese concepts in terms of aesthetic principles? Why do you think that you are drawn to these concepts?

Create a piece of work in response to this further research.

s24ac2 — 2025-06-02 14:40:49 UTC

I battled with the addition of gold leaf on these works but decided that the gold lines were significant as a reference to Kintsugi, the art of repairing broken ceramics with gold.

s24ac2 — 2025-06-02 15:10:06 UTC

Added gold leaf to small areas on these wood shavings. This was not easy as they are so delicate. I plan to display these in a vitrine with an interesting piece of wood.

s24ac2 — 2025-06-02 15:19:08 UTC

I often found myself listening to this piece of music by Tomoyoshi Date during the marbling process. I found it very meditative in relation to the rhythm and placement of the brushes and ink on the water surface. I felt that the extra sounds echoed me working - moving papers around, swirling my brushes in ink, working on water outdoors in my garden. I was also intrigued by the title and how it fitted in with this work.

s24ac2 — 2025-06-02 15:21:58 UTC

Thinking about adding in the option of the audience being able to listen to a significant piece of music and engaging with the scent of cedar and pine to make this a multi sensory experience. The scent of the woodwork rooms at WD and the Japanese carpentry exhibition had an impact on me.

s24ac2 — 2025-06-02 15:29:11 UTC

I created a folded over loop at the top of each hanging piece to thread a length of bamboo through. I will then attach some fishing wire to each end of the bamboo and tie onto the beams in the Old Dairy. I will decide on the layout and hanging lengths when I am in the space.

s24ac2 — 2025-06-02 15:32:40 UTC

Been reading this book about Edmund De Waal's Japanese Netsuke collection.

s24ac2 — 2025-06-03 12:05:55 UTC

Link to Tomoyoshi Date 'Placement of the Drops'.

s24ac2 — 2025-06-03 12:45:57 UTC

Adding gold leaf following the lines of the ink patterns and extending outside the border. Have some gold areas intentionally simple and some more complicated in reference to marbling created outdoors in the wind and some calmer patterns when indoors.

s24ac2 — 2025-06-04 15:22:55 UTC

Been exploring the fragility of these wood shavings by gently tearing and stretching the fibres to create interesting marks and shapes.

s24ac2 — 2025-06-06 08:04:12 UTC

Having hung my work up next to a window confirms that too much light shining through diminishes the ink pattern and causes the gold leaf to look very dark. I may need to black out the window near my work in our gallery space and work with the lighting.

s24ac2 — 2025-06-06 16:09:44 UTC

A fascinating talk with Edmund de Waal and Jennifer Scott about the use of gold in art.

s24ac2 — 2025-06-09 20:07:38 UTC

Was inspired by this display of hanging works by Cas Holmes and thinking more about how to hang my work.

s24ac2 — 2025-06-09 20:08:06 UTC

Went to a Tetrapak printmaking short course day with Jane Fox and experimented with my suminagashi marbling patterns by tearing layers of the carton.

s24ac2 — 2025-06-12 09:40:40 UTC

Was pleased with how the gold leaf caught the light.

s24ac2 — 2025-06-12 09:45:14 UTC

Decided to keep the blinds up on the windows as the light shining through created shifts in the transparency of the papers.

s24ac2 — 2025-06-12 09:46:23 UTC

s24ac2 — 2025-06-12 09:56:07 UTC

s24ac2 — 2025-06-12 09:56:35 UTC

s24ac2 — 2025-06-12 09:57:35 UTC

s24ac2 — 2025-06-12 09:58:28 UTC

s24ac2 — 2025-06-12 10:00:18 UTC

Needed to display these delicate works in a vitrine and used a beautiful piece of olive wood as part of the display.

s24ac2 — 2025-06-12 10:01:25 UTC

s24ac2 — 2025-06-12 10:01:57 UTC

s24ac2 — 2025-06-12 10:02:41 UTC

s24ac2 — 2025-06-12 10:38:52 UTC

I enjoyed seeing how these works moved in the breeze coming through the open window and when people walked around them.

s24ac2 — 2025-06-12 10:51:09 UTC

s24ac2 — 2025-06-12 11:21:17 UTC

Marbled wood shavings with small areas of gold leaf.

s24ac2 — 2025-06-12 11:24:16 UTC

s24ac2 — 2025-06-12 11:25:37 UTC

s24ac2 — 2025-06-12 11:38:15 UTC

So rewarding exhibiting with this lovely group and really enjoyed talking to visitors about my work at our pop up show.

s24ac2 — 2025-06-12 11:44:17 UTC

s24ac2 — 2025-06-12 12:34:49 UTC

I read this book by Leonard Koren and have become more interested in this area and how it relates to the beauty of the broken or flawed.

s24ac2 — 2025-06-12 12:44:28 UTC

Key Japanese Aesthetic Principles:

Wabi-sabi - beauty in imperfection

Shizen - respecting natural materials

Ma - space in between

Seijaku - stillness and tranquility

4.2 Project 1

s24ac2 — 2025-10-06 15:40:20 UTC

Materials & Place in Practice is the focus running throughout this academic year, offering both a practice-led and scholarly approach to the processes of making through material knowledge in context with contemporary society. The year will include the continued development of individual practice alongside socially engaged theories concerning memory, place and identity examined and explored through chosen materials and the holistic approach of deep mapping, a model of research that has no formula, but which draws on layers of data including maps, folklore, text, artworks as well as experiential, first-hand investigation. This Unit is divided into three projects: PROJECT 1 Materials and Place will be introduced through the context of Ursula K. Le Guin’s short essay The Carrier Bag Theory of Fiction with an introduction by Donna Haraway; the text proposes that; ‘before the tool that forces energy outward, we made a tool that brings energy home.’ This shift in narrative aligns with the provenance, legacy and value of materials in line with ecological and political concerns in the twenty-first century raising questions about source, technology, collaboration and skill.

Project Brief and Prompts

s24ac2 — 2025-10-06 15:42:53 UTC

4.2 Project 1

s24ac2 — 2025-10-06 15:45:05 UTC

Mind Map

4.2 Project 1 - Key Inspiration

s24ac2 — 2025-10-06 15:49:47 UTC

This book has been the inspiration for Project 1 in 4.2. I read this book over the summer and feel that I have been drawn to the woods since. It covers the Japanese practice of Shinrin-Yoku, Forest Bathing, a form of forest therapy and the scientifically proven benefits it provides.

s24ac2 — 2025-10-06 15:50:10 UTC

Starting to read this compilation of writing from a variety of voices about woodlands across the British Isles.

s24ac2 — 2025-10-06 15:57:02 UTC

Was initially thinking that my place was Japan having got so immersed in its culture and philosophy in 4.1 project 3. I feel that I want to carry these concepts with me into this new project. My current thinking is that my place is WOODLAND.

s24ac2 — 2025-10-06 16:42:11 UTC

Am very interested in the qualities and the history of the craft of Japanese Washi paper and I would like to use this in my work.

4.2 Project 1

s24ac2 — 2025-10-06 16:53:34 UTC

Am interested in the washi paper work by Kyoko Ibe. Thinking about using this paper in this project.

s24ac2 — 2025-10-07 12:04:41 UTC

Attended a live Zoom with London Drawing with Sumi ink artist Yoshio Ikezaki who demonstrated his process. He talked about the Japanese concept of Ma which I referenced in my last project. It speaks of the spaces in between.

s24ac2 — 2025-10-07 12:06:44 UTC

Interesting to find this artist who uses washi paper.

s24ac2 — 2025-10-07 12:58:48 UTC

Went to an event in London which included this beautiful hanging work using handmade natural dyed papers. Am still interested in hanging installations.

s24ac2 — 2025-10-07 13:05:22 UTC

Read this book after it was suggested after my 4.1 Project 3 review. Feel I am looking at shadows more since reading.

s24ac2 — 2025-10-07 13:18:00 UTC

Traudel Stahl work. I love the fragility of this piece.

s24ac2 — 2025-10-07 13:41:28 UTC

Karen Olson paper sculpture.

s24ac2 — 2025-10-07 16:21:49 UTC

Fieldwork sketches from West Dean Arboretum

s24ac2 — 2025-10-07 16:22:36 UTC

Tree bark rubbing and drawing

s24ac2 — 2025-10-07 16:23:20 UTC

s24ac2 — 2025-10-07 16:24:04 UTC

Following lines and patterns of bark.

s24ac2 — 2025-10-07 16:25:59 UTC

Study of wood in ink and charcoal in studio at West Dean.

s24ac2 — 2025-10-07 16:31:36 UTC

Washi paper comes from the bark of the Mulberry tree. Japanese sumi ink from Pine in terms of linking in materials. Thinking about woodland and trees being containers which nurture, hold and sustain life in so many ways.

s24ac2 — 2025-10-07 17:01:10 UTC

s24ac2 — 2025-10-07 17:13:31 UTC

Would like to add gold leaf to my bowls if possible to acknowledge a Divine reverence.

Junichiro Tanizaki - In Praise of Shadows

s24ac2 — 2025-10-10 13:55:51 UTC

'Western paper is to us no more than something to be used, while the texture of Chinese paper and Japanese paper gives us a certain feeling of warmth, calm and repose...Western paper turns away the light, while our paper seems to take it in, to envelop it gently, like the soft surface of a first snowfall. It gives off no sound when it is crumpled or folded, it is quiet and pliant to the touch as the leaf of a tree.'

s24ac2 — 2025-10-10 14:10:43 UTC

At last review it was recommended that I look at the artist Rebecca Salter due to the influence of her time in Japan on her work. I was interested to discover that she went through a process of cutting up her watercolour landscapes into shapes and reorganised them. I will need to fragment my artwork on paper by tearing them into strips to create a bowl.

s24ac2 — 2025-10-10 14:17:51 UTC

Am still interested in using paper that is transparent. I note that Rebecca Salter used unprimed canvas so that the paint soaked through and that she could work on either side. This is a reason why I enjoy using unsized Japanese paper.

s24ac2 — 2025-10-10 14:19:23 UTC

Have spent time this autumn walking amongst trees and noticing the colour shift in the leaves. I may try to capture this using a Chinese/Japanese brush painting technique from a short course I attended in the summer.

Japan as my Muse

s24ac2 — 2025-10-10 14:28:38 UTC

Been thinking about this since my tutorial - Japan as my muse and bringing this back home to here, where I live and where I am at. Japan as a presence that informs my making and to allow its materials and philosophy to influence my work.

s24ac2 — 2025-10-10 14:38:36 UTC

Am also inspired by the traditional Japanese calendar which divides the year into 72 brief microseasons and the poetic names each is given. This book is an interesting calendar created for a British year and I am noticing how present I am to the changes in autumn this year as a result of this project.

s24ac2 — 2025-10-13 14:49:41 UTC

s24ac2 — 2025-10-13 14:50:05 UTC

Looking at turning leaves in their process of change. Am wanting to bring this beauty into my work somehow.

s24ac2 — 2025-10-13 14:50:38 UTC

Found these black marks revealed on a tree trunk where bark had fallen off really interesting. Thinking about the significance of layers in this project. They create strength over time. It is a slow process.

s24ac2 — 2025-10-13 14:55:21 UTC

Looking at lines and shapes out sketching in my local woodland areas.

s24ac2 — 2025-10-13 14:55:38 UTC

Took some bark rubbings with a 4B pencil.

4.2 Project 1

s24ac2 — 2025-10-13 14:56:09 UTC

First attempt at making a paper bowl. I covered two different sized bowls with cling film and mixed up Jin Sofu wheat paste which has been used in paper conservation in Japan for over 1000 years. 1 part Jin Shofu to 5 parts distilled water and heat to make a paste.

s24ac2 — 2025-10-13 14:56:29 UTC

Using a hake brush I glued strips of my previous project's suminagashi marbling papers onto the bowl moulds. I used a mixture of teabag paper and washi paper.

s24ac2 — 2025-10-13 14:56:52 UTC

Have been researching methods to create these bowls and some advise doing one layer at a time and let it dry before applying the next layer whilst others apply all 3-4 layers at once. Will try both.

s24ac2 — 2025-10-13 14:57:18 UTC

I have been experimenting using Chinese/Japanese brush painting technique onto different washi papers and thinking about some leaf shapes. It is a very different technique in that stages of different colours are all loaded onto the brush and one single mark is made.

s24ac2 — 2025-10-13 14:57:42 UTC

A close up to capture the beauty and softness of this paper and the way that the paint soaks into this unsized washi paper. I also was pleased with how the textures of the felt underneath the paper imprinted onto the paper where I applied the paint.

s24ac2 — 2025-10-13 15:16:00 UTC

Reading this fascinating book and learning about how trees are connected in a 'wood wide web'. They nurture each other. Thinking about the Carrier Bag Theory of caring over conquest and domination.

Keywords

s24ac2 — 2025-10-13 15:32:17 UTC

LAYERS

REPETITION

SLOW

NURTURING

ENVELOPING

CONTAINING

TIME

HOLDING

FORAGING

s24ac2 — 2025-10-13 15:42:04 UTC

The tea bowl in Japan is deeply revered as part of the Tea Ceremony. This is a Raku bowl with gold Kintsugi repair which I have viewed in the British Museum. Thinking about the significance of the bowl as a vessel.

s24ac2 — 2025-10-13 15:44:35 UTC

I attended a Tea Ceremony demonstration at Japan House in London. I learned more about this ritual of mindfulness, simplicity and respect.

Layers

s24ac2 — 2025-10-13 15:50:30 UTC

There will be a significance in the layers of papers I apply to the bowl. I would like some to contain text related to this project - possibly in English and Japanese? It will take time - there will be a deliberate slowness in the building of layers.

s24ac2 — 2025-10-21 15:09:24 UTC

Practicing Chinese brush leaf painting at West Dean. The colours of the autumn leaves are beautiful at the moment and I am trying to capture this. I intend to add these to my bowl in some way.

4.2 Project 1

s24ac2 — 2025-10-21 15:10:31 UTC

My first attempt in creating a bowl. I have used some of my Japanese marbled teabag papers but they were too thin and tore when I tried to remove the mould. I needed to add more layers.

s24ac2 — 2025-10-21 15:10:52 UTC

It is very difficult to assess how many layers to apply as it depends on how thick the paper used is. I applied more layers to the large bowl using teabag paper and Japanese calligraphy paper. I have added some methylcellulose paste to the wheat paste to make it smoother to use.

s24ac2 — 2025-10-21 15:11:13 UTC

Here I have used some cicada wing rice paper. Creasing was an issue. I have to leave these to dry overnight each time before I attempt to remove them from the mould.

s24ac2 — 2025-10-21 15:12:07 UTC

It is very difficult to remove the paper from the mould - lots of patience needed and this cannot be rushed. I tore this bowl in a couple of places during this process.

s24ac2 — 2025-10-21 15:12:32 UTC

Thinking about not cutting the paper strips due to the sharp edges.

s24ac2 — 2025-10-21 15:12:59 UTC

This bowl also tore when I removed it from the mould. I added a couple of areas of my coloured brush painting near the base to see how this could work. I am interested in the beauty of light shining through these bowls.

s24ac2 — 2025-10-21 15:13:23 UTC

This year is a mast year for acorns interestingly and I foraged for some on my woodland walks to make some acorn cap ink to stain some of my papers.

s24ac2 — 2025-10-21 15:13:37 UTC

I did not want an intense dark ink colour so didn't reduce the liquid down too much. I added a couple of cloves to preserve the ink.

s24ac2 — 2025-10-21 15:18:09 UTC

I tried using some of my brush painting on Japanese papers of varying thickness. I was paying no attention to design at this stage. It was interesting how the application of the paste to the colour really brought out the pigments quite intensely. I may want to tone them down when I create more.

s24ac2 — 2025-10-21 15:18:25 UTC

I used my one of my thinnest washi papers in this bowl and should have applied more layers due to this. It was extremely difficult to release from the mould and tore in several places. I love the transparency of it though.

s24ac2 — 2025-10-21 15:19:00 UTC

I tried a combination of 2 different thicknesses of washi paper in this bowl using some of my suminagashi marbling. I stained the outside with some of my acorn cap ink but it leaked through to the inside which I wasn't happy with.

s24ac2 — 2025-10-21 15:21:59 UTC

My most successful bowl so far. Again I used 2 different thicknesses of washi paper with marbled papers on the inside. I have added some dried lunaria (Honesty)heads I picked up from a walk around West Dean gardens and also lines of text. I need to work on cutting the rims to look a bit more rustic.

s24ac2 — 2025-10-21 15:56:14 UTC

Been reading about the traditional craft of making washi paper. It is created from the inner bark fibres of mulberry, mitsumata and gampi. The name washi means Japanese paper. I love how delicate it feels compared to Western papers.

Repetition

s24ac2 — 2025-10-23 12:22:03 UTC

Thinking about this word in line with the Carrier Bag Theory. The gathering was a mundane, repetitive act. I am mixing up glue paste, tearing up strips of paper, laying them over each other and brushing them with paste in a repetitive way. It is a gradual building up of layers to make something stronger.

s24ac2 — 2025-10-23 12:58:44 UTC

Looking into the different uses of washi paper.

s24ac2 — 2025-10-23 13:15:48 UTC

Went to an exhibition at the SOAS Gallery. I was interested in their display of old recycled washi papers. Even back in the Edo period Japan served as a model for a sustainable society.

s24ac2 — 2025-10-23 13:25:10 UTC

Washi paper was first combined with lacquer to create bowls during the Edo Period (1603–1868).

s24ac2 — 2025-10-27 14:12:54 UTC

Am happier with the rough edges around the rim on this one. I used layers of some Japanese calligraphy papers I had from a short course at West Dean and Tosa washi paper. Finding it hard to not have creases and to be happy with imperfection.

s24ac2 — 2025-10-27 14:16:00 UTC

Thinking about ‘komorebi’ the sunlight shining through the trees and my vessels having more transparent areas that show with a light source. Maybe sitting them on a light box?

s24ac2 — 2025-10-31 13:52:06 UTC

Looking at bark textures and lines and how I can manipulate my suminagashi ink to create tree like forms.

s24ac2 — 2025-10-31 13:52:38 UTC

I have been trying out some more suminagashi marbling using Sumi ink on various papers to see how well the ink holds. The Tosa paper on this one worked especially well. I have been trying to manipulate the ink to create tree branch like forms.

THIN PLACE

s24ac2 — 2025-10-31 14:02:41 UTC

Have been thinking about this concept that I feel a resonance to. The woodland feels like a thin place to me - where the veil between the natural and spiritual world becomes transparent. Many of my Japanese papers are so delicate and transparent - they seem to echo this. Have decided that this will be the title of this work.

s24ac2 — 2025-10-31 14:03:56 UTC

Watched this beautiful Japanese film about finding beauty and serenity in the mundanity of ordinary life. Thinking about the Carrier Bag Theory, especially the mundane and repetitive acts.

s24ac2 — 2025-10-31 14:06:59 UTC

Experimenting with different layering of papers and how well text, leaf painting, moss, fibres etc hold within. Working out how many layers I need depending on the thicknesses of the paper used.

s24ac2 — 2025-10-31 14:09:05 UTC

I have been collecting a variety of Japanese papers to see how well they work being layered together to form bowl vessels. It is important that they are all thin enough to paste onto the mould easily and I tested them all. The most effective were Tosa washi, Ginwashi tissue and Ino Shi paper.

s24ac2 — 2025-10-31 14:39:54 UTC

Saw some beautiful work in the Japan section in the Met Museum in New York over the summer. Am still intrigued by the use of gold and poetry to enhance artwork and would like to add some of my own Haiku poetry and gold leaf within my works.

s24ac2 — 2025-10-31 14:48:45 UTC

Looking at Edmund De Waal's work again. Thinking about palimpsest - barely visible Haiku poetry set within paper layers within my work.

s24ac2 — 2025-11-04 11:24:49 UTC

Looking to see how well the bowls sit with each other and deciding on which ones to choose to display.

s24ac2 — 2025-11-04 11:32:46 UTC

Testing the paper's transparency in the light.

4.2, Project 1

s24ac2 — 2025-11-04 11:33:04 UTC

This is my largest bowl with my Chinese brush painted leaf shapes collaged onto the inside. I was hoping that the paper was transparent enough for them to show through to the outside when in the light.

s24ac2 — 2025-11-04 11:33:32 UTC

I found some lichen on the forest floor and dried it out before seeing if it was possible to set it within papers layers and I was pleased with the result.

s24ac2 — 2025-11-10 13:24:19 UTC

This site talks about the difference between Forest Bathing and Forest Therapy. It also mentions the Thin Place concept in detail.

Vessel of Place

s24ac2 — 2025-11-10 15:03:20 UTC

I have foraged from the forest floor on my woodland walks and have gathered organic materials to be embedded in amongst the paper layers of my bowls.

s24ac2 — 2025-11-10 20:24:29 UTC

Still thinking about ‘Komorebi’, the Japanese word for sunlight filtering through the trees. I have added the Japanese characters for this word on the inside of one of my bowls.

s24ac2 — 2025-11-20 11:48:58 UTC

Am fascinated by the Japanese tea ceremony and the beauty of their tea bowls. This book explores ancient bowls and also more contemporary ones.

s24ac2 — 2025-11-20 11:53:27 UTC

This was a plaster cast created in a clay mould from found forest floor debris during Tabatha's workshop.

s24ac2 — 2025-11-20 11:54:11 UTC

I ironed some of my wood shavings from my last project to use in creating a bowl exterior.

s24ac2 — 2025-11-20 11:58:13 UTC

Looking at shapes and lines of walking routes and will make a reference to these in gold leaf lines on my work.

s24ac2 — 2025-11-20 12:05:39 UTC

An illustration from the Walking in the Woods book which inspired this project. Am also looking at these walking route lines and shapes. I have been thinking about the paths that I have been walking along during my woodland walks recently.

s24ac2 — 2025-11-20 12:15:35 UTC

This bowl has been stained with my acorn cap ink with a damaged fallen leaf embedded within the layers of paper. I have added some forest pathway route lines in gold leaf.

s24ac2 — 2025-11-20 12:16:15 UTC

This bowl was very difficult to remove from the mould and it tore in a few places on the rim. I have repaired it with gold leaf and size as a reference to Kintsugi and healing. It contains found partly decayed dried blackened leaves from the forest floor preserved in glycerine.

s24ac2 — 2025-11-20 12:17:57 UTC

Interesting project from an artist making 100 tea bowls out of Japanese Kozo paper.

s24ac2 — 2025-11-20 16:22:47 UTC

I placed some small LED lights inside each bowl to see the effect of a light source from the base. Am pleased with the transparency of the paper and am especially interested in the shadows created on the wall behind. It is important for me to place them by a wall for our review.

s24ac2 — 2025-11-20 16:45:15 UTC

This author found meditative peace in the clearing and thinning of an ash wood in Dorset during the Second World War.

s24ac2 — 2025-11-20 16:57:45 UTC

Testing out ways of applying hints of haiku lines of poetry onto my bowls. I used a very soft pencil on washi tissue paper and smudged it with a finger to partly erase it before pasting onto the bowl.

s24ac2 — 2025-11-20 16:58:05 UTC

To me these decaying leaves are like treasure. I was carefully sifting through damp leaves on the forest floor and found these beautiful ones with the veins partly exposed. I notice that I am still drawn to the delicate and imperfect. I used some of these on one of my smaller bowls and this delicate washi tissue paper to gently layer over these.

Haiku Poetry

s24ac2 — 2025-11-20 17:10:48 UTC

Haiku sets to simply capture a moment in time and usually follows a set pattern of 3 lines. The first line with 5 syllables, the second with 7 and the third with 5.

One of my own:

The gentle wind breathes

A leaf softly drifts downwards

To a bed of gold

s24ac2 — 2025-11-21 14:12:07 UTC

Dried found lichen from the forest floor embedded in between layers of Tosa, Ginwashi tissue and Ino Shi papers with acorn cap ink staining.

s24ac2 — 2025-11-21 14:12:32 UTC

Inside detail of lichen bowl. I have deliberate white space in this bowl to convey the Japanese essence of Ma, the space in between. The beauty and texture of the papers can be seen more easily. I have added the Japanese text for 'komorebi', the sun shining through the trees and a gilded fallen leaf to symbolise forest treasures.

s24ac2 — 2025-11-21 14:13:23 UTC

Found pine wood shavings from West Dean instruments department, ironed and pasted onto a Tosa paper lining.

s24ac2 — 2025-11-21 14:13:52 UTC

The interior with suminagashi marbling and gold leaf.

s24ac2 — 2025-11-21 14:14:17 UTC

This is the inside of the bowl where I cut around each leaf shape and collaged them on as a first layer. I have left the paper in its off white state without any acorn cap ink stain to show the comparison.

s24ac2 — 2025-11-21 14:14:35 UTC

The inside detail of the previous photo. Here are my suminagashi marbling of branch like forms and subtle hints of Haiku poetry text.

s24ac2 — 2025-11-21 14:14:59 UTC

The inside detail of previous photo. Again some of my suminagashi marbling to convey wood grain pattern, acorn cap ink stain showing through and further hints of Haiku text.

s24ac2 — 2025-11-21 14:45:26 UTC

A beautiful tennis ball sized nest made from overlapping seed heads of Honesty lined with twine. I am drawn to the delicacy of this and how it has been formed into a container.

s24ac2 — 2025-11-22 14:20:01 UTC

Read this book about reclaiming beauty and wonder which is an important aspect of my work.

FORAGING

s24ac2 — 2025-11-24 12:33:30 UTC

I have enjoyed the act of foraging on the forest floor, stooping low to see what I can find and thinking about the Carrier Bag Theory in this way.

s24ac2 — 2025-11-27 20:58:14 UTC

I originally tried placing my work on a light box but felt that the light was too stark and cold so I resorted to using the warmer softer light from small LEDs placed inside each vessel.

s24ac2 — 2025-11-27 20:58:46 UTC

I was able to capture my work in low light after our review to emphasise the detail in the work and to create the interesting shadows on the wall behind.

s24ac2 — 2025-11-27 20:59:53 UTC

s24ac2 — 2025-11-27 21:00:17 UTC

s24ac2 — 2025-11-27 21:00:42 UTC

s24ac2 — 2025-11-27 21:01:10 UTC

s24ac2 — 2025-11-27 21:01:43 UTC

4.2 Project 1 Group Exhibition

s24ac2 — 2025-11-27 21:04:33 UTC

As I was exhibiting in a shared space with a group I realised that I had to compromise on the lighting of my work. My work was suited to a low lit space but others needed their work to be more well lit.

s24ac2 — 2025-12-08 15:41:02 UTC

Am interested in the organic shapes in this work by Ian McKeever.

s24ac2 — 2025-12-08 15:46:57 UTC

There is so much beautiful detail in these works and I am wanting to try some marbling as a possibility for my final piece.

s24ac2 — 2025-12-08 15:47:50 UTC

Henk Peeters, Burn Hole.
Interested in the burn holes and plaster texture that disrupt the surface of the canvas.

s24ac2 — 2025-12-08 15:49:30 UTC

Went to see this Emma McNally exhibition, 'The Earth is Knot Flat'. Thinking about disrupting the surface of paper.

4.2 Project 2

s24ac2 — 2026-01-05 16:47:33 UTC

First online Teams meeting summary with the student group. We will be meeting regularly to discuss our group exhibition.

4.2 Project 2

s24ac2 — 2026-01-05 16:52:18 UTC

PROJECT 2 Place in Practice continues to build on the first project by interrogating how contemporary artists incorporate place and materials to engage collaboratively with peers, audience and the wider community. This project will ask questions about what a socially engaged practice looks like, who benefits and how might this method of working facilitate change.

4.2 Project 2

s24ac2 — 2026-01-05 16:56:41 UTC

I am thinking about making a book inspired by this book called 'Breath' by Edmund de Waal in line with library theme.

s24ac2 — 2026-01-05 16:59:42 UTC

This was a special collection book and had to be viewed on a conservation cushion in a designated area of the library.

s24ac2 — 2026-01-05 17:01:41 UTC

Here you can see the embossing revealed on the reverse of the previous page.

s24ac2 — 2026-01-05 17:02:49 UTC

Inspiration for artwork

s24ac2 — 2026-01-05 17:04:29 UTC

At the V&A National Art Library I was able to view a pamphlet of Edmund De Waal's book project with Ivory Press called 'Breath'. Even though this was just a pamphlet book it echoed the original book. I was intrigued by the use of different papers, gold leaf and letterpress text embossing.

Initial Group Ideas

s24ac2 — 2026-01-05 17:22:56 UTC

We have begun discussing this next project as a group to address the issue of Marica still not being able to access the library at West Dean. Thinking about inaccessibility in a wider sense also. We may work on our own interpretation of this and bring it together in a final exhibition.

s24ac2 — 2026-01-05 17:27:45 UTC

I am thinking about making a book and locking it in a plain wooden box with a key to emphasise the inaccessibility of books to Marica in the library at West Dean.

4.2 Project 2

s24ac2 — 2026-01-06 09:49:00 UTC

I made hardcover and softcover books on an introduction to bookbinding short course at West Dean. Am thinking about building on these skills for this project.

s24ac2 — 2026-01-06 12:13:22 UTC

Japanese paulownia wood boxes were historically used to store and protect valuable, delicate items like silk kimonos, art, scrolls and tea ceremony tools. Thinking about my book in a box.

s24ac2 — 2026-01-12 17:23:00 UTC

Did an exercise I suggested that I'd tried before called Blackout Poetry in Tabatha's session. It is making me think about how to use text in my book.

4.2 Project 2

s24ac2 — 2026-01-13 14:57:06 UTC

Been thinking about the role of libraries and how artists have responded to them

s24ac2 — 2026-01-13 15:03:55 UTC

Does the content of my book have to reflect the focus of the group project or work on my own piece and make the artwork inaccessible?

s24ac2 — 2026-01-13 15:10:53 UTC

Austin Kleon's Newspaper Blackout work.

I'm thinking about how a big part of the library experience for students at West Dean has been taken away from Marica - for example the browsing of books or journals. The blacking out of text reveals this and what remains is only a small part of the whole experience.

s24ac2 — 2026-01-13 15:11:14 UTC

Blackout poetry or redacted poetry according to Bustle, is created when;

“…a poet takes a found document, traditionally a print newspaper, and crosses out a majority of the existing text, leaving visible only the words that comprise his or her poem; thereby revealing an entirely new work of literature birthed from an existing one” (Miller, 2017).

s24ac2 — 2026-01-13 15:36:44 UTC

Looking at Theaster Gates library works.

s24ac2 — 2026-01-14 14:45:05 UTC

Disabled access to historic and listed buildings. House of Commons Social Policy Section.

Equality Act 2010

s24ac2 — 2026-01-14 14:46:13 UTC

If a UK university library in a listed building lacks accessible access, the university must provide reasonable adjustments under the Equality Act 2010

Commoning is a methodology as well as a philosophical way of being within a community

s24ac2 — 2026-01-14 16:10:02 UTC

We may be using this methodology as a group, working towards a common aim or theme, with respect and understanding for all.

s24ac2 — 2026-01-14 16:21:58 UTC

'The practice of commoning is about relationships and belonging. It is a practice of relating to “others” from within the narrative of interbeing rather than separation. Holding things in ‘common’ invites people to collaborate and share the abundance provided by a particular place and culture.'

Daniel Christian Wahl.

s24ac2 — 2026-01-16 14:33:56 UTC

Interesting art project using a barge as a moving community library/writing space and research vessel.

s24ac2 — 2026-01-16 14:42:44 UTC

Ruth's thoughts...

Group Discussions

s24ac2 — 2026-01-16 14:45:31 UTC

We are having ongoing discussions about our joint exhibition on Whatsapp, Teams meetings and in person at West Dean. It has been difficult to get all the group together at once to discuss this.

s24ac2 — 2026-01-19 16:32:12 UTC

Started experimenting with collage from pieces of work of mine and placement of text. May use a typewriter to create my own words. I have decided to used deckle edge Khadi paper as it has an interesting texture.

s24ac2 — 2026-01-20 20:32:41 UTC

Went to the Warburg Institute in London where Edmund de Waal's Library of Exile structure is now a permanent fixture.

s24ac2 — 2026-01-20 20:34:33 UTC

Was able to take a close look at his kaolin slip and gold leaf work.

STEPS

s24ac2 — 2026-01-20 20:40:26 UTC

Thinking about the steps that prevent Marica from entering the main library space at West Dean and also the steps I took to access the book at the V&A library.

May have steps to view my artwork?

locate the box
access the key for the box
open the box etc...

4.2 Project 2

s24ac2 — 2026-01-21 12:41:31 UTC

Decided on trying a 5 hole pamphlet stitch for my book.

Chained Libraries

s24ac2 — 2026-01-25 17:44:08 UTC

Primarily from middle ages to 18th century books were precious and chained to protect them against theft, to keep them organised and to make them accessible to scholars. I am very interested in this concept for my project and may add a chain to my book to emphasise restricted access.

s24ac2 — 2026-01-25 17:46:53 UTC

I went through the number of steps I had to perform to actually handle Edmund De Waal's Breath pamphlet book in the V&A library. It was FIFTEEN, which is in itself a barrier to access.

s24ac2 — 2026-01-28 12:35:39 UTC

I have taken inspiration from a book by Miho Kajioka who uses transparent pages. I am interested in experimenting with pages like this in my book.

s24ac2 — 2026-01-28 12:38:04 UTC

I spent a day on a suminagashi marbling short course at West Dean and learned more about this mindful technique. It was good to learn from the tutor directly - especially the materials that she uses.

s24ac2 — 2026-01-28 12:38:32 UTC

At my suminagashi marbling short course I began using the very fine Japanese papers more and love the ghost like effect it creates.

s24ac2 — 2026-01-28 12:39:18 UTC

Spent some time experimenting with Chinese brush technique with black and white inks which I will use in my book.

Outlandish Manifesto

s24ac2 — 2026-01-28 12:47:32 UTC

A manifesto from an exhibition the group went to at the John Hansard Gallery. Aaron Williams, an artist with a commitment to disability art activism, created The Outlandish Collective. This was inspiration for the group to compile our own manifesto in relation to our project.

s24ac2 — 2026-01-28 13:20:52 UTC

Saw some Holy Bibles at the V&A recently and been thinking about the ritual and ceremony side of viewing my book.

s24ac2 — 2026-02-03 12:31:02 UTC

Using Google Docs I condensed some photos of some of my marbling works and printed them onto tracing paper to create a layering of images in my book. I have used a scalpel to add some paper cuts. This cut has meaning for me in that this has been a challenging project and it has caused fractures in the group.

s24ac2 — 2026-02-09 16:55:20 UTC

Thinking about the audience having to climb up a ladder to reach the box containing my book. Was intrigued by this piece by Yoko Ono where the viewer had to climb the ladder and use a magnifying glass to read the word 'YES'.

s24ac2 — 2026-02-09 16:58:24 UTC

Feel that the group project has broken down due to the sensitive subject area. Some members of the group have pulled out.

Book Words

s24ac2 — 2026-02-09 16:59:37 UTC

This has been challenging. Decided to concentrate on the dictionary definitions of the word STEPS to add to the pages of my book.

s24ac2 — 2026-02-09 20:22:44 UTC

s24ac2 — 2026-02-21 17:08:51 UTC

Experimenting with gold leaf using this brush to sweep the size across tracing paper. The paper buckled quite a lot which could be an issue.

s24ac2 — 2026-02-24 12:58:37 UTC

Working on the front cover - thinking about text and gold leaf. Also used an old typewriter to type out words from STEPS dictionary definitions.

Installation in West Dean Library

s24ac2 — 2026-02-24 13:02:24 UTC

Had a chat with Jackie Knee in the library about ideas to display in there.

s24ac2 — 2026-02-25 08:35:32 UTC

Went to the Hepworth Wakefield to see an exhibition by Edmund De Waal and his response to work by Axel Salto.

s24ac2 — 2026-02-25 08:36:09 UTC

The beautiful tiles on the ceiling are made of porcelain.

s24ac2 — 2026-02-25 08:37:11 UTC

There was one room in the exhibition devoted to Edmund De Waal's response of which most of the space was taken with this installation. It was a very calming space to enter - almost like entering a library and it is box like in form.

s24ac2 — 2026-02-25 08:37:37 UTC

Got to visit the oldest subscription Library in the UK in Leeds. Looking at ladders and library book shelves and thinking about access to books.

s24ac2 — 2026-02-25 08:38:38 UTC

The beauty in Leeds public library set within the Art Gallery building.

s24ac2 — 2026-02-26 16:59:57 UTC

I made 5 evenly spaced holes in the fold of the book using a book awl.

s24ac2 — 2026-02-26 17:00:40 UTC

I used a black waxed thread to make this 5 hole pamphlet stitch to hold the book together.

s24ac2 — 2026-02-26 17:24:04 UTC

Books were immensely expensive and valuable, making them targets for theft; coffers provided a secure, locked container for storage. Many coffers were designed specifically to house devotional materials.

s24ac2 — 2026-03-03 16:46:06 UTC

I have been researching Yoko Ono for my essay and thinking about giving instructions as part of my presentation.

s24ac2 — 2026-03-03 16:55:12 UTC

Interesting to see this old photo of the library in that there was a large table serving as a communal space which is no longer there.

s24ac2 — 2026-03-03 16:55:40 UTC

Photo of the billiard room at West Dean which is now the library.

s24ac2 — 2026-03-03 17:18:11 UTC

An extract from Yoko Ono's Grapefruit book.

s24ac2 — 2026-03-03 17:38:47 UTC

This was the first European civic library. The books were also chained and attached to lecterns for the public to read.

4.2 Project 2

s24ac2 — 2026-03-06 15:58:48 UTC

I wanted the box to be very plain on the outside to emphasise the beauty within it once unlocked.

s24ac2 — 2026-03-06 15:59:45 UTC

Finished book in the box.

s24ac2 — 2026-03-06 16:00:09 UTC

Finished box base interior.

s24ac2 — 2026-03-06 16:00:33 UTC

A small block of gold leaf on this delicate Japanese Ino Shi I have used for both the front and back end papers.

s24ac2 — 2026-03-06 16:01:08 UTC

Two key words from the Equality Act 2010 which this project is addressing.

s24ac2 — 2026-03-06 16:01:31 UTC

More Chinese brush painting and marbling.

s24ac2 — 2026-03-06 16:01:57 UTC

s24ac2 — 2026-03-06 16:02:14 UTC

A slice of gold leaf on this page and repeated on reverse page. An image from 4.1 project 1 reference photo of cracked Old Dining Room hearth tiles at West Dean.

s24ac2 — 2026-03-06 16:02:34 UTC

s24ac2 — 2026-03-06 16:03:00 UTC

Some of my Chinese brush painting overlaid with marbling, Japanese washi and a torn edge from an old book page.

s24ac2 — 2026-03-06 16:03:22 UTC

s24ac2 — 2026-03-06 16:03:37 UTC

s24ac2 — 2026-03-06 16:03:52 UTC

s24ac2 — 2026-03-06 16:04:07 UTC

Further images of my marbling printed onto tracing paper and layers of further page images showing through.

s24ac2 — 2026-03-06 16:04:23 UTC

s24ac2 — 2026-03-06 16:04:40 UTC

I added a decaying leaf with a strip of pine wood shaving, marbling and gold leaf.

s24ac2 — 2026-03-06 16:05:01 UTC

I folded the edge of the teabag paper from the previous page over to this one creating an edge. I then added a strip of my marbling on transparent Japanese washi. You can see the central 5 hole pamphlet stitching of the binding with waxed thread.

s24ac2 — 2026-03-06 16:05:29 UTC

Some tea stained marbling work on teabag paper.

s24ac2 — 2026-03-06 16:06:32 UTC

s24ac2 — 2026-03-06 16:06:51 UTC

s24ac2 — 2026-03-06 16:07:08 UTC

s24ac2 — 2026-03-06 16:07:26 UTC

Some images from some of my marbling work on teabag paper printed onto tracing paper.

s24ac2 — 2026-03-06 16:07:44 UTC

s24ac2 — 2026-03-06 16:08:05 UTC

More suminagashi work on teabag paper. I find it interesting to extend the lines beyond the border.

s24ac2 — 2026-03-06 16:08:21 UTC

s24ac2 — 2026-03-06 16:08:38 UTC

The first page with tracing paper with some images of my 4.1 project 1 tile work. I am interested in the glimpses of the image from the next page creating a new composition which changes as you turn it over.

s24ac2 — 2026-03-06 16:08:53 UTC

A crop of my suminagashi marbling on teabag paper with the addition of a gold kintsugi-like thread.

s24ac2 — 2026-03-06 16:09:55 UTC

Dictionary definitions of the word STEPS.

s24ac2 — 2026-03-06 16:10:21 UTC

I have used a sweep of gold leaf and typewriter text on this simple book cover.

s24ac2 — 2026-03-06 17:09:09 UTC

I have added a border of my marbling to neaten the edges. I also added a coat of varnish to seal the gold leaf as it was shedding too much. My plan was to gold leaf the lid also but decided to cover it in my marbling due to the issues I had with the base.

s24ac2 — 2026-03-06 17:09:33 UTC

I covered the base of the box with gold leaf which was not an easy process as I had issues with it adhering. I had to keep reapplying in several areas. The edges were not neat.

s24ac2 — 2026-03-06 17:26:55 UTC

It was Edmund De Waal's intention that this book be displayed on a lectern.

s24ac2 — 2026-03-06 17:35:31 UTC

Yin Xiuzhen: Heart to Heart

'See the familiar in new ways, as artworks made from unconventional materials and overlooked objects reveal personal and collective stories.'

Saw this exhibition where the artist has used old clothing to cover books.

Film clip of my book pages being turned

s24ac2 — 2026-03-07 13:50:10 UTC

https://youtube.com/watch?v=Ly-Qvdv0Xrw&si=cEWRrwCbWP9eZRI9

Performance Instructions

s24ac2 — 2026-03-12 06:16:41 UTC

The Performance

s24ac2 — 2026-03-12 06:17:58 UTC

s24ac2 — 2026-03-12 06:17:59 UTC

s24ac2 — 2026-03-12 06:18:00 UTC

s24ac2 — 2026-03-12 06:18:01 UTC

Performance Video

s24ac2 — 2026-03-13 09:06:49 UTC

https://youtube.com/watch?v=dsnf7d4BmBw&si=Na1Y2jz6ovtJkRoy

4.2 Project 3

s24ac2 — 2026-03-24 12:56:02 UTC

PROJECT 3 Materials & Place in Practice is the culmination of the first two projects and is an opportunity to develop an independent line of enquiry that continues to delve into the provenance and process of materials and the techniques implemented to communicate narratives.

Initial Inspiration

s24ac2 — 2026-04-20 15:29:05 UTC

There is a small patch of woodland as part of an ecology centre. This contains an area of pine trees which I noticed had been significantly burnt at their bases.

4.2 Project 3

s24ac2 — 2026-04-20 15:30:29 UTC

The damaged tree appears to be 'weeping'. This is leaking pine resin as a defensive response to act like a scab to protect the wood and aid healing. I wanted to capture this is my work.

s24ac2 — 2026-04-20 15:30:29 UTC

I contacted my local authority to ask if they knew anything about this fire. They confirmed that it was an act of vandalism 'possibly started by youths'. Antisocial behaviour in this area can be an issue, especially in school holidays.

s24ac2 — 2026-04-20 15:30:29 UTC

I enjoy foraging on the forest floor and noticed these delicate leaf skeletons again which I have used in my work in the past.

s24ac2 — 2026-04-20 15:30:30 UTC

The burnt trees have pine resin leaking out. This is a natural, defensive response to seal the damage and prevent infection or pest infestation.

s24ac2 — 2026-04-20 15:30:31 UTC

Looking at the detail in this burnt pine bark and seeing the beauty within the damage.

Gathering of Remnants

s24ac2 — 2026-04-20 15:30:31 UTC

I collected pine cones, pine needles, tree charcoal and leaf skeletons which were all left behind by the burnt pines as well as the remains of charcoal and ash from the church incense burner. I will use all of these to honour the trees - to give something back to them.

s24ac2 — 2026-04-20 15:32:41 UTC

As well is collecting the leaf skeletons, I gathered pieces of charcoal left from the fire and plan to make some ink from them and use them in this work.

s24ac2 — 2026-04-20 15:32:41 UTC

I also gathered these pieces of fallen pine bark and can see beauty in the textures, shapes and colours. Some have scorched areas from the fire.

4.2 Project 3

s24ac2 — 2026-04-20 15:32:42 UTC

I preserved the found leaf skeletons in glycerine and water for a few days.

s24ac2 — 2026-04-20 15:32:42 UTC

I plan to use these in my work.

s24ac2 — 2026-04-20 15:32:43 UTC

I pressed one of the leaf skeletons into some damp texture medium to see what would be left behind.

s24ac2 — 2026-04-20 15:32:45 UTC

I was interested in why I can only find these leaf skeletons beneath the pine trees. Pine needles are acidic and supress bacteria and fungi attack which would fully decompose the leaves. Thinking about natural decay versus deliberate harm.

s24ac2 — 2026-04-20 15:32:45 UTC

I left some leaf matter in the texture medium and let it dry. I then painted some burnt umber/sienna watercolour paint on top and like the effect.

s24ac2 — 2026-04-20 15:32:46 UTC

Mark making in ink with forest floor found objects.

s24ac2 — 2026-04-20 15:32:46 UTC

Mark making with pine needles from the burnt pines.

s24ac2 — 2026-04-20 15:32:47 UTC

The natural beauty of these found objects from benath the burnt pine trees.

s24ac2 — 2026-04-20 16:11:14 UTC

A church censer in which charcoal is lit to burn incense. The charcoal holds the memory of a tree.

s24ac2 — 2026-04-20 16:34:19 UTC

I dried the leaves and then placed them in a heavy book to flatten them.

s24ac2 — 2026-04-20 16:52:52 UTC

I returned to the pine trees site and there was evidence of another fire and a melted plastic bottle. I have noticed young people gathering here in the evenings.

s24ac2 — 2026-04-20 17:08:07 UTC

Am looking into the deliberate acts of vandalism on trees in the UK. This was a high profile example.

s24ac2 — 2026-04-21 09:59:10 UTC

Reading about exclusion to these urban woodland spaces relating to antisocial behaviour and risk that women feel about using these areas.

4.2 Project 3

s24ac2 — 2026-04-21 10:04:07 UTC

s24ac2 — 2026-04-21 10:13:27 UTC

Growing eco-vandalism in the UK.

s24ac2 — 2026-04-28 13:15:28 UTC

I appreciate the energy in this work.

s24ac2 — 2026-04-28 13:18:42 UTC

Peon Boyle's hanging work with the group's workshop pieces.

s24ac2 — 2026-04-28 13:20:50 UTC

Had a very inspiring workshop with Peon Boyle on our study block. I felt such a resonance with her practice and the workshop aligned with my current thinking about this project.

4.2 Project 3 - Ink Making

s24ac2 — 2026-04-28 13:25:34 UTC

I ground some charcoal I had made for a previous project collected from West Dean and added some distilled water, gum arabic and cloves to preserve. Despite using a pestle and mortar, sieve and a muller, the ink was still very gritty.

s24ac2 — 2026-04-28 13:28:52 UTC

My first attempt at making ink from my home made charcoal. There was still too much charcoal grit in the ink and once dried there were too many pieces of charcoal on the surface. Need to get a finer sieve.

s24ac2 — 2026-04-28 13:29:40 UTC

Experimenting with the addition of a leaf skeleton and gold pen on my work created at Peon's workshop. I am interested in the leaf skeletons representing natural decay as opposed to the deliberate harm of the tree.

s24ac2 — 2026-04-28 13:34:41 UTC

Created a concertina book from a large ink and charcoal piece in Peon's workshop alongside other sensory, meditative mark making work using Indian ink, charcoal, drawing ink and wax resist.

s24ac2 — 2026-04-28 13:39:18 UTC

I tore a section of my ink work into the shape of a tree trunk and glued it onto a plain white sheet of paper. The tearing of the paper was to represent the damage inflicted onto the trees.

s24ac2 — 2026-04-28 13:40:14 UTC

I applied texture medium onto cartridge paper and added leaf skeletons to it. I covered two of them with PVA to see if this made them more flexible. I then put a wash of ink over it all once dried.

s24ac2 — 2026-04-28 13:41:07 UTC

More ink work created at Peon's workshop using wax resist and charcoal. Feeling this could depict the burnt trees well.

s24ac2 — 2026-04-28 14:55:43 UTC

Large scale ink spilling performance piece by Bingyi.

s24ac2 — 2026-04-28 15:28:54 UTC

Tried adding gold gilding wax with a blender in areas - thinking about this representing the sacred.

s24ac2 — 2026-04-28 16:04:46 UTC

We went outside to forage for natural mark making tools. These were used in all of my ink and charcoal work created during Peon's session.

s24ac2 — 2026-05-02 12:47:58 UTC

Created this piece with charcoal on a mark making and meditation short course with Katie Solohub and can see a smoke/incense effect which I am interested in.

s24ac2 — 2026-05-02 12:59:52 UTC

Made some ink from the pine cones I collected from the floor below the burnt pines. I also added some rusty nails to darken the ink and to add a reference to the urban setting of my woodland area.

s24ac2 — 2026-05-02 13:00:41 UTC

I made inks from the charcoal collected from the burnt pine trees and ink from the church charcoal and compared it shop bought inks.

s24ac2 — 2026-05-02 13:02:14 UTC

Testing out the charcoal I collected from the church incense burner (censer). The charcoal crumbles very easily but makes marks when the dust is rubbed into the paper.

s24ac2 — 2026-05-02 13:03:03 UTC

Pine tree bark rubbing using black oil pastel.

s24ac2 — 2026-05-02 13:23:50 UTC

My piece of bark studies became more relevant when these were turned round to portrait format. They became more tree-like and my final piece idea was beginning to form.

4.2 Project 3 : KEYWORDS

s24ac2 — 2026-05-02 14:00:41 UTC

DAMAGE

HARM

REPAIR

SACRED

HOLY

REVERENCE

RESPECT

SACRED

s24ac2 — 2026-05-02 14:27:09 UTC

Things, places or concepts considered holy, set apart or worthy of spiritual respect. Deeply valued.

TREE BURNING

s24ac2 — 2026-05-02 14:29:55 UTC

Highlights environmental issues such as 'slash and burn' deforestation and increasing forest fires due to global warming.

s24ac2 — 2026-05-02 14:31:16 UTC

Looking at climate change and reckless land use.

NARRATIVE

s24ac2 — 2026-05-02 15:16:27 UTC

Alter dominant, aggressive story of vandalism to one of tender care. A gathering and elevation of the remnants of the fire. Holding the trees in reverence and acknowledging that, for me, they are sacred. Deliberate (arson) and contained burning (holy incense).

s24ac2 — 2026-05-05 10:10:50 UTC

I am interested in this technique of controlled burning of paper using an incense stick on my work.

s24ac2 — 2026-05-05 15:07:08 UTC

Went to see this artists' books exhibition. Was interested in the scorched edges and use of skeleton leaves in this piece by Shiho Dono. Thinking about filling some of my burn holes in the paper with these.

s24ac2 — 2026-05-05 15:27:19 UTC

Henk Peters' Pyrography 'fire drawings'. Thinking about burning holes and adding smoke markings to my piece.

s24ac2 — 2026-05-05 15:32:29 UTC

Thinking about fumage art - smoke staining the paper.

Forest Bathing

s24ac2 — 2026-05-11 15:53:09 UTC

I organised a session with some of the volunteers at the ecology centre where my pine trees are located. We took a slow, mindful walk through the woods guided by myself.

s24ac2 — 2026-05-11 15:54:58 UTC

After our walk I laid out a 3m length of cartridge paper and gave out some pieces of charcoal which were left at the base of the burnt trees. I also had my own ink I had made with crushed charcoal from these trees.

s24ac2 — 2026-05-11 15:56:30 UTC

I gave a rough guide as to the kind of marks to create along the length of the paper. It began to rain which I was concerned about, but it created an interesting effect!

s24ac2 — 2026-05-11 15:57:43 UTC

I gathered pine needles, twigs and pine cones from around the trees for everyone to dip into my ink and see what interesting marks they would make. The rain drops were hitting the ink beautifully.

Forest Bathing Session

s24ac2 — 2026-05-11 16:02:18 UTC

I attended a 2 hour guided forest bathing and experienced the calming effect that this creates. I decided to lead a short forest bathing session with mark making where my pine trees are located.

s24ac2 — 2026-05-11 16:14:05 UTC

The finished work from the volunteers. I was planning on adding my own marks to this work but now feel that it needs to be left as it is. There is a beauty in it and a capturing of a moment in time which I want to preserve.

s24ac2 — 2026-05-12 16:23:26 UTC

The slow mindful walking was as important as the mark making on paper.

s24ac2 — 2026-05-20 14:02:31 UTC

It was symbolic for me to lay the scroll before the altar in the church as a mark of reverence and offering. I am not so happy with the marks produced here and need to decide whether to add my own to this one.

s24ac2 — 2026-05-20 14:02:32 UTC

I am undecided as to whether to use this piece in the final installation. I felt that I had encompassed the sacred element by using the church charcoal in my own response. I have it here recorded by photo as a significant act for this project.

s24ac2 — 2026-05-20 14:02:32 UTC

The clergy in my local church added some charcoal marks using the Holy Week charcoal I collected from their incense burners. I gave them a brief instruction to create marks along the paper like incense rising upwards.

s24ac2 — 2026-05-20 14:07:48 UTC

Experimenting with burning paper with an incense stick. It is a very controlled and slow form of burning but I like the sacred, ritual aspect of it that incense gives.

s24ac2 — 2026-05-21 08:36:57 UTC

Controlled burning of damp paper to create burn holes in the piece. Deliberate burning to reference the fire damage to the trees. I added these before any other marks were made.

s24ac2 — 2026-05-23 12:00:22 UTC

Testing out different inks and mark making.

s24ac2 — 2026-05-23 14:04:38 UTC

Picking out different colours I see in the pine tree bark. Added salt to some wet areas of ink.

s24ac2 — 2026-06-02 11:57:21 UTC

I used pine needles dipped in Indian ink on patches of water to create these lined marks. I burned the edges and made holes in the paper with an incense stick.

s24ac2 — 2026-06-02 15:56:00 UTC

Decided to use this smaller piece in my installation as I feel it captures the essence of my narrative. While the ink was still wet I sprayed it with water to bleed the inks and let them drip downwards to echo the leaking resin.

s24ac2 — 2026-06-02 19:30:32 UTC

Despite their trauma, the trees are still standing tall - a testament to their resilience.

Wounded Peace

s24ac2 — 2026-06-02 19:39:32 UTC

I have chosen this title for my work which was inspired by a sermon at my church during the Easter period.

'The juxtaposition of a "wounded peace" occurs when contrasting themes of pain, conflict, or injury are paired directly with stillness, healing, or reconciliation. It captures the tension of finding calm amidst trauma, or healing that still bears the scars of what was endured.' Bishop Robert Barron.

s24ac2 — 2026-06-03 15:07:19 UTC

Used a wax candle on the paper before any marks were added to reference incense smoke rising upwards. My inks are different brands to ones I used in my workshop with Peon, especially the Indian ink. I tried 2 different brands but not getting such interesting results.

s24ac2 — 2026-06-05 20:04:36 UTC

I had to create this piece outdoors as my studio space is not suitable. It was a heatwave and the inks and water were drying too quickly so I was not achieving the effects that I’d hoped for.

s24ac2 — 2026-06-05 20:04:37 UTC

I noticed the resin weeping has now turned to white on the burnt trunks.

s24ac2 — 2026-06-08 13:57:06 UTC

It felt right to bring my work back to the trees and display them amongst them.

s24ac2 — 2026-06-08 14:03:00 UTC

Experimenting with layout of leaf skeletons. Made a hanging piece from these bark fragments starting with most scorched at bottom and rising up to healthy bark.

s24ac2 — 2026-06-08 14:05:00 UTC

Reading this interesting book with fact based research on how being in nature improves our health and wellbeing.

s24ac2 — 2026-06-08 14:10:07 UTC

A close up of the rain drops merging with the ink and charcoal.

s24ac2 — 2026-06-08 14:12:04 UTC

Glued on these delicate leaves with methylcellulose glue after fixing all my work with a few coats of fixative. I added veins of gold with marker pen to symbolise reverence and value.

s24ac2 — 2026-06-08 14:14:21 UTC

On my most recent visit to the pines I noticed that the healing resin is changing colour.

Text Panel

s24ac2 — 2026-06-08 14:24:57 UTC

Wounded Peace responds to a group of burnt pine trees in urban woodland close to where the artist lives. The trees survived an act of vandalism and, though damaged, remain standing. Their resilience bears witness to endurance in the face of trauma.

The installation comprises hanging works made using materials gathered from the site, including charcoal and ink derived from the burnt remnants of the pine trees.

The collaborative scrolls were created with volunteers who care for the woodland and the vicar of her local church. Their marks were joined by raindrops, allowing nature itself to participate in the work.

The accompanying works evoke the wounded trees through charcoal, ink, burnt apertures and curling incense-like gestures. Additional charcoal collected from church incense burners during Holy Week, the period leading up to Easter, introduces a sacred dimension, while gold references reverence and value.

Together, these works reflect on the sacredness of the natural world, mourning harm while honouring resilience and survival.

s24ac2 — 2026-06-08 14:55:31 UTC

I have slightly float mounted this in a frame and have curled the bottom upwards and some of the scorched edges on the sides inwards to give a less static appearance. I felt that the rectangular shape would echo the shape of the long collaborative piece next to it in my installation.

4.2 Project 3

s24ac2 — 2026-06-09 14:12:27 UTC

I laid my response down before the pines.

Carrier Bag Theory of Fiction

s24ac2 — 2026-06-12 07:03:00 UTC

Rather than focusing on conquest or violence, Wounded Peace embodies the Carrier Bag Theory by collecting and holding traces of trauma, survival and renewal. The work brings together care and my relationship to community and place.

s24ac2 — 2026-06-13 13:28:48 UTC

s24ac2 — 2026-06-13 13:41:06 UTC

I decided to work on the church clergy charcoal marks with the heaviest marks at the bottom to emphasise damage and then fading upwards like incense smoke.

s24ac2 — 2026-06-13 13:44:09 UTC

s24ac2 — 2026-06-13 13:45:24 UTC

Felt that my piece sat well with other student work in the gallery space.

s24ac2 — 2026-06-13 13:47:05 UTC

A plinth was used as an 'altar' to lay out pine charcoal, church charcoal with pine tree remnants from the forest floor which were used in the work.

s24ac2 — 2026-06-13 13:50:09 UTC

s24ac2 — 2026-06-13 13:57:04 UTC

s24ac2 — 2026-06-13 13:58:14 UTC

Final Installation

s24ac2 — 2026-06-13 13:59:29 UTC

s24ac2 — 2026-06-13 14:00:47 UTC

s24ac2 — 2026-06-13 14:02:53 UTC

s24ac2 — 2026-06-13 14:05:11 UTC

s24ac2 — 2026-06-13 14:34:10 UTC

Detail of church piece.

s24ac2 — 2026-06-13 14:36:04 UTC

s24ac2 — 2026-06-13 14:41:33 UTC

Close up of area at base of work showing leaf skeletons partially covering burn damage to symbolise nature's ability to repair.

s24ac2 — 2026-06-13 14:53:25 UTC

Detail of meditative movement of pine bark fragment hanging.