Tuesday, November 30, 2010

Printing_Multi-plate and Artists Book_3

Method:The book as a layered construction, with images that are creations from more than one print medium theorizing the concept of TRANSFORMATION.

10 pages, double sided prints on rice paper, with different images viewable on either side. Some representation of the spine of the book, with binding, some form of representation of the cover.

Paper: rice paper from antique store
I've let the rice paper dictate what happens - I want to photograph the final book in a light environment, because the beauty of the pages is that they are light - and the sun just shines through these holes in the paper, or scratches that went too deep.
Spine: steel rings bought
Book covers: hessian sacking found at tip
Bindng: rings and raffia bought

One of the main things that have come out of this excercise so far, is that I've just allowed one idea to flow through to another - and through that I've not been afraid to make mistakes... I LOVE mistakes, they add that 'on purpose mishap', that just adds a little something to the piece. With using the rice paper (amongst other papers) I've realised I am enamoured with process more than form... I see everything as part of the overall concept of a page, so whatever happens, happens... and if it doesn't, I keep working it until it works... the multiplate printing is certainly very experimental, and I see this final excercise as a automated 'looseness' I didn't feel at the beginning of the course... too worried about what I was trying to say about the masks and not how I enjoyed their texture and process.

I remember listening to an interview with Marcel Duchamp. He spoke about incidentalism and nothing being a mistake... he talked about his piece The Large Glass where he said during a move, the glass was cracked, and there was uproar and everybody was very affected by it. He was asked how to fix it, should they remove the glass and he try to salvage what he could from this masterpiece? His response was basically that no, leave the glass as is, it was meant to be, so it had to be part of the 'story of the piece'.... I really like that. There's something very evolutionary about that.

Marcel Duchamp, The Large Glass. Oil on Glass, 1915-23

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