In the studio

Studio /  by Justin Harrison

I still haven’t tidied the studio. Working on concluding various pieces I’ve started. Theres a mess of clamps and indigo stain on my bench. An evolution of this new from that’s been appearing in my drawings and play.

As ever I have fallen for a material, well a colour this time - this deep midnight of a colour that speaks to me in words made of water

///.

Another impromptu piece the peg and wood veneers - which has been assigned the loose working title of ‘passport’. I really need to try and find more titles for the work I plan to show. Also define what other pieces I want to show in the exhibition. How do I pull my audience into this ‘Lore’ the place of passage? Without being condescending or too directive? I find it interesting and odd that again language as such a strong role to play in visual art work, but then it’s my visual artwork and perhaps it shouldn’t be surprising.

I wish I had more time to pull together all the snips of thoughts and theory that have been occurring as I work, I know that the Blog curation helps but I feel Like I still have littered all over my sketchbooks and notes and digital notes a host of thoughts that would benefit from being processed.

Then there are two round forms made up of rectangles that references the bundle drawings I have been making they are an echo or development of that and also if I can sort the clay drawing - ‘Summoning’ on the wall then a reference to that too. All comprised of smaller parts - rectangle blocks. (Everything is divisible).

They feel like some form of navigational device, a compass or sextant. Those terms don’t quiet feel right, but something akin to that.

I do worry that my work is old fashioned - constructed in wood and stain and metal. Everyone else seems to be using AI or film, where does that leave this work? What is the significance of what I am doing making? But then I am learning to make because its in me, that I can worry about galleries and collectors I I want. But that derails the work, the research and forms quiet a different practice. Doing this MA has taught me that. The work that flows from me is genuinely my own and creative. Free. And perhaps has more value.

 

This took too long /  by Justin Harrison

This article ahs been on my bench for the longest time, I don’t know quiet why it took so long to make.

I’m really wanting to conclude one or two key pieces as I rapidly draw to a close of the MA. However I’m not sure this is wise as I try to acclimatise to a new way of approaching my work.

I’ve modified it as the details I first drew feel excessive and lack a certain honesty. I’m mindful of the work retaining it’s integrity. I’m mad because I know I can do the stitching better. But overall it’s ok.

I feel the colours the soft dense black of the burnt wood against the burnish copper next to the warm ochre of the leather all coalesce to make something more for me. The item a tool, a ritualised tool with a distinct purpose but obtuse as to what it is. Passaging through uncertainty requires rituals that are ambiguous at best.

I am tempted to fuss with it some more, extend the height of the burn, something about the aesthetics for me isn’t quiet right…

 

Studio notes /  by Justin Harrison

This is the perils of limited materials - reclaiming stuff means that I only have limited supply of a particular medium, wood button or metal hooks etc.

Of the two wood formations I can’t decide which I prefer best and actually want to make all of them however there is not really enough. I have to make a decision….commit!

Also I have a new obsession of Indigo blue, it actually moves me. It’s like the depths of the sea of the expanse of the universe for me. It holds mystery and passage. Can a colour do that? Is it just me?

I’m cautious about painting wood - it’s a pet hate of mine, I love the grain and the natural colouring and variants. Yet staining the wood is an instinct I can’t resist. Maybe just a bit…

 

Practice /  by Justin Harrison

I'm surrounded by a mess of clamps, stray wood and glue. I'm wondering how I made any work before. I'm challenging myself to another spontaneous fast piece. I'm getting in my own way of making and it's annoying.

I have a creative tantrum and brake stuff.

/// Day 2

I had managed to glue and clamp some stuff yesterday before I lost it, as I continue to work on it I make different choices changing layout and direction, I question the wood where it wants to go what form it needs to take to speak, to articulate of the in-between, at times I purposely plane and smooth off the wood from it’s original texture. You can't see it easliy- but I know. Changing states. The wood came form a couple of boards I found in the street, the wood is coarse and rough with glue residue. I also blacken two slats - I’m constructing some strange object - born for the liminal. On object of negotiation.

I wonder wether to paint some or all of the wood. Normally I recoil from painting the material and hiding its nature, but I'm also considering my instinctual colour palette, black browns amber and occasionally blues. As I look over my blog and instagram account I see a strange consistency.

I'm asking, looking for the poetry of the work

I also have been dreaming about the clay drawings, about camping overnight beside the tree, ritualising the process

Heart spirit Mind soul in alignment. Generatiional imbalance.

 

Studio /  by Justin Harrison

I don’t know what I’m doing to be honest. But It kinda feels ok or even right. I’ve constructed this monsterous stencil from collected disposed of card. Almost like what one would do when cast adrift on a desert island cobbling together some sort of improvised solution.

It’s growing into some large drawing, evolving. It’s not finished, I have more to do…when I figure it out.

I’m looking for the work to have ‘presence’ for the drawing to move in some way. I’m deliberating - what does it need want. How does it speak?

I stop the drawing for now and lay out more materials on my bench - various types of wood I’ve collected. This has now become part of my process, to collect and set out materials, give them space to breath and speak to me. I strip the laminated boards I found and break them down into slats constituent elements. I’m processing materials looking for dialogue.

It’s a mush mash of materials, I don’t know what I’m doing but its ok. I’m asking questions of the material and myself. I start sanding a fence panel and that feels ok or am I repeating everything? Am I genuinely experimenting? I want to develop more the initial trials that felt successful. The clay drawing. The looped animation, and where are the films I was promising to make?

And conclusions what can I conclude? Or do I just make…

 

Minor Posts /  by Justin Harrison

I’m super busy at the moment with work and uncomfortably can feel I am loosing momentum. I am in the studio but in a different state, contemplating how my work can develop. I like the results of the fast studies but I do wonder how I conclude some of the work, not finish but draw to moment in the work that makes sense or is at least interesting.

I had a thought today and will try to make ‘Minor posts’ less writing more brief thoughts. I seem to do better when I am not labouring my ideas or work. Minor posts can be as simple as I like - the idea to be continually processing with out the burden of performance and can complment more considered posts. Well that’s the idea…

 

Negative Lever /  by Justin Harrison

I’m in the studio processing materials I’ve collected. It’s been a week or so since I was in the forest and all I want to do is amass wood and bits. I think it’s because I am so led by my materials - the feel and presence and history. However I don’t feel comfortable just making cute little bundles. It feels like a ‘get out’ clause - just tie some bit’s together and it will pass as art. I really want more the presence of the artist upon the material leading to its transformation and meaning.

I’m trying to tie up unfinished/explored  ideas, the wood I cut is for bundle and more pegs. I make another peg but split the wood nailing the leather into it, the wood is too thin the black tack butchers into it - clefting the slim peg I had cut - need to get some simmer tacks.

I then clear my bench and take a drawing from the card form I had made some time back from disgarded boxes. it’s been on my wall for a while, because I wasn’t entirely sure why I had made it. But I did feel potential to it and now it may lad to sculptural work.

The paper is so large it takes up all available space in the studio and I have to stand in my bench and the paper to work.

The drawing is interesting- nothing too dramatic but I still like it. I would like to make it in black ink and in negative with a watered black wash. It also occurs to me that it would be interesting to make the form in stacked found wood. And a version in negative in stacked found wood. I still have more fence panels and I imagine stacking and gluing it.

SO maybe potential. But also thinking realistically about where I take this all for the MA show…

And what is this piece about - I’ve called it a Negative Lever. More tools for navigation of uncertainty.

 

Refill /  by Justin Harrison

I’m back in the woods harvesting material. I’ve had an idea that’s pressing on me, although I suspect the raw materials won’t be here. I do find something of interest and set to it - cutting disks off a larger fallen tree, It’s hard work - as I cut I looking for an efficiency and wonder what this means also. Why be efficient? Why is production so important. Does efficiency matter in the Liminal?

I like that it’s all cut bulky hand but the novelty is beginning to em wear off.

More importantly I think is that I am in the forest. It’s a place of refilling - even if I don’t get much made. The head space I find is likely more productive…but then do I need to be productive? Or is that a capatilaist conditioned relfex?

 

Colour tests /  by Justin Harrison

So a whole session in the studio has been spent hand sanding a large diameter copper pipe. I’m allowing myself this indulgence of protracted fussing as I had also just made some faster pieces. It’s a balance right? Well maybe therapy, I had planned to use an angle grinder but it just felt wrong - disrespectful to the metals nature, the spirit of what I want to make. So I make my way up the grit papers. I was planning to go for a mirror polish but it feels tawdry somehow. I plan to knock it back by a grade or two.

It’s a test piece for my collaboration. I felt intimidated by the size and time it required so this a simplified stripped down version. Drawing should have been made at this point. but they are still in the atmosphere - I’ll pull them down later.

The copper is to test it’s reflective capabilities in low light. If it works then Jon and I can push on and develope the piece.

I do feel excited that this can develope and expand, I just need to stay relaxed and flow.

As I edit the photos for this post I also realise - that a comment made by Jonathan has sunk into my mind, and has been resurfacing from time to time. He had mentioned about my use of colour - I need to discuss this through a little more as I’m not entirely sure what he meant but it was encouraging none the less, and I become more aware as I examine the images - some colour and compositional tests.

I also wonder about etching drawing onto the copper, embroiling it and setting things, ideas and feelings into the fabric of the piece.

Also the music I’m listening to is filtering in. connecting and encouraging me. I need to keep a log as I easily forget what blesses my heart and making.

https://www.youtube.com/watch?v=3xrmTND6Jo4

 

Ritualised Tools of Passage /  by Justin Harrison

I'm sanding some reclaimed wood for a piece and I hesitate, the colours of the grain - the history of the wood are emerging subtle yet sweet; knots, creosote, grain and dirt, its like a book with an obscure narrative that I'm trying to follow - I'm slightly torn how much to sand, I love the glassy feel of super smooth lacquered wood but it feels like a crime to remove anymore of the paternation, like I’m erasing memories. I'm trying to engage with time in a disrupted way. Keeping the history yet making new.

I accidentally put Danish oil on first - I had planned to use varnish however I know that these mistakes often work for the better so I don't worry too much. Fine saw marks appear, as forgotten half healed scars as the oil soaks into the dry fibres of the wood. Then I put too many layers on and it changes the colouration I had been obsessing over, the oil takes the wood to more warm honey colours and some of the paternation disappears.

/// I lament for a moment///

However these sculptures are meant to be fast explorative pieces, all of which is research and informative. The more I make - the more I learn about the materials and my work.

As the oil is drying I cut a second piece of wood, it's thin and brittle and doesn't have the subtlety of shape that I want, so I take to carving at it in attempt to have a little more control. This works but ads time to the process. I'm able to manipulate and manifest the forms that I feel in my head.

At some point it also occurs to me that I can char the wood that I will get a nice contrast against the Holly pegs I've been making and plan to add. This changes the voice of the piece, more gravitas than the honeyed wood. I like it and putting the two together creates more dialogue that I enjoy. (I do wonder about how I animate this work more a feature of the other recent sculptures)

On reflection of the two sculptures placed together as a piece - I almost feel as tough I've happened upon something that I shouldn't have. Like opening a tomb.

The apertures agents, the pegs agents in conflict. Some sort of holy/unholy moment. The passage at crux. The threat of the outside coming in.

I'm not sure I quiet understand what I've made, I need time to absorb what is going on. A slow burn.

 

Stacking /  by Justin Harrison

This piece has come from fussing in my studio over various works, I’m not sure I love it, but I don’t hate it either. It needs re-photographing as it’s flattened out in the photograph.

More intuitive making without solid plans or intentions but rather letting the materials find their own voice, working quickly I ask questions of the form and wood, where does it want to be, in what state, why is the harder question I have left aside for now. I’ve been thinking a lot about materials and their role in the language of the work. Dialects and translation and interpretation. Intentional application of histories.

The elements are bundled again, stacked the wood finished and unfinished, left in different states. Histories are stacked and layered.

Benjamin's proposal Cultural translation is a coming to terms with the foreigness of language. Such foreignness revealing the liminality of both the indigenous and the extra territorial. Working with materials and modalities of difference whether linguistic, visual or digital demands something other than finding a consensual form of resemblance or appropriation.

https://www.youtube.com/results?search_query=homi+bhabha+translation+and+displacement 1:01:40

 

Studio 22 Oct /  by Justin Harrison

It was quiet a feverish time in the studio today, I’m trying to make everything that is in my head, it seems the simplest response. I’m stressed because I want to be making MA worthy work again. I’m carrying the voices of imagined peers and imagined criticisms. ‘Everyone disapproves of my use of time and resources’. The power of our imaginations - I’m using my powers for evil not good. SO my response is to try and just make everything that I currently have in my head, just dump it all out because at least I am being productive and hopefully I can free up my thinking into more productive paths.

I managed to finish the last joint on the draw paddle, it still pains me that they are not well executed. I hate that the cuts are tatty - it really bothers me …like alot…it needles away inside my head. But I just don’t have the time to be fussy right now, I need to make everything that I am seeing, feeling. I am also hoping that out of this pushh will come work that really interests me. I am getting a little bored of just making paddles they aren’t talking enough for my liking.

I make a number of hasty pieces putting ,materials together to ask what they might say. I fabricate another peg, this is a self indulgent exercise as I get some kind of pleasure from making them, I like putting the leather and the wood togeher. It does leave the question to what purpose, what are their purpose? What do they hold? But then that’s maybe useful, pegs are my markers, simple and impermanent the temporarily can hold onto something or mark it’s place.

I’ve also had two lumps of tarmac sitting around the studio, that I’ve not known what to do, but today they got bound up in some leather I had left on my bench to provoke something to be made. Again led by the materials I tried to find something that they were happy with. It’s become some sort of sling or hammer, again I bashed it out, no measuring or marking. Photographing it on the old wood felt right, the placement and reference to an older history. I like the idea if ignoring chronological time. Anachrony. Derrida’s hauntology comes into play. I like that the sculpture has history in it’s materials. It’s lived two lives already;

Life 1. The Raw Material, the evolution/ life span of the wood, leather and tar, is one life time that has passed.

Life 2. The Given Purpose, The draws, the pavement, the garment. The material exists in an assigned purpose.

Now it exists in a third and yet still retains the previous histories, lives, they are still present and palpable.

I’m close to finishing the Holly Jointed Paddle, I just need to peg the blade sections. I drill the wood and have already bunted on bit and broken another. The holly is tough, I respect it for that, it again gives character to my materials for me and it’s important that I listen to them. Also in looking through my sketch book I notice a detail I had forgotten to add. I must upload my drawings as they carry important details and noters that I often forget and I don’t often look back through and read everything.


 

Pushing /  by Justin Harrison

I kind made work and unmade work. Well it feels like I messed up. I attempted a bunch of stuff and it really didn’t come out how I was hoping.

The Draw paddle joint I was cutting came out clean and then as I was ‘tidyin’g the channel with a chisel I took chunks out, now it looks horrible, I don’t know how to feel about it, I was enjoying the clean lines. I want to make lots and I’m trying to let the perfectionism go - but how far fro I go in letting go?

I forget the lessons that wood has taught me and have to relearn them, the character of there grain and what it will and won’t permit.

I sent a good part of the afternoon stripping a green branch, I discovered they bend far easier than one that has had a chance to dry out. I thought I’d found the perfect branch in size and diameter, but on stripping it I signifiacantly reduced the diameter. It surprised me , then wen I was bending it I pushed it too far and too fast - it began splintering unable to cope with my expectations. This is for a piece that I started agues a go and have been waiting to find the right material, now I’m still waiting.

I am learning but I am annoyed and I feel the pressure of time against me. The work is not where I want it to be and right now I don’t feel excited by it. It could just be a bad day, but there is a feel to pieces that are succeeding - they have more dialogue with me.

Blah blah blah - I’m annoying myself.

 

Materials Matter /  by Justin Harrison

Finally back in the studio.

I’ve taken the clamps off the paddle roughly made form fencing panels - I still like, although it feels slightly out of character for me. There is a curious freedom to it that I would have resisted before as poorly made, lacking craft, and although I do miss my beautifully made items - there just isn’t time to fuss. I have a number of things I want to see completed, ideas manifested.

But somehow the Fence Panel Paddle feels like its not doing enough work. I think it needs a mixture of textures - I wish I had fine sanded and polished one layer to stand in contrast and resistance. Do I make another paddle and put in the fine layer on that one? Do I like the work enough. Especially when there is more to be made. The value to making the faster care free work is that I am more generative. Make more…

I move on for now and cutting the wood for a jointed paddle. It’s hard to do it well and cut straight by hand but I am learning. The cuts straighter - it’s hard working in green wood, everything blunts faster, and it’s super tough to drill. The green wood has a high level of resistance I get as far as I can for now as I left a key tools at home.

I move on to strip some other branches for a bundle and realise that they are not Holly. Most of the time I have been picking up fallen Holly branches and I’m used to the colour and feel of the wood. As I take the bark off a branch it reveals fine stripes and yields it’s bark differently not quiet as satisfyingly. I don’t like it, it feels all wrong.

It makes me think of my research artists Anish Kapoor and Ursula von Rydingsvard. The materials are vital, a core part of the language of the work, even with Anish Kapoor who often worked with negative space and voids, the materials that are the genesis of the void are a vital part of the tension. The rock, wax, glass and fabric. It’s unavoidable, not just the material but the way an artist chooses to work them. The materials matter. Even the spaces in-between the materials, the ‘differance’, because it is influenced by the neighbouring elements.

I feel like in my work there is more for me to do, to find to visit upon the materials, but then I’m not sure I have the language I want yet.

I realise that I am in a transitional place, quiet normal for an art MA, but never the less it’s unsettling, I see that my conceptual underpinning is far more rigourous - especially from all the research I’ve been doing. I’m not there yet, my work still isn’t cogent, but I feel the difference the movement. And it’s quiet ironic yet not surprising that I should enter into this having been writing about it.

I’m troubled by my work which today feel overly simplistic and lacks essence, presence. But I continue accepting that ‘passage’ is rarely a comfortable space and this is my work. The jointed paddle itself a tool of passage, awkward and it’s purpose ‘offset’, present but impractical. The differing of meaning in my work - ‘Differance’

Growth and Decay - I like the abstraction of the process. the gradual loss of recognisable form and purpose, the granular yielding back to constituent elements.

NOTES:

Listening to Homi Bhabha whilst working in the studio - this lecture is crucial to my research - if only I could extrapolate and assimilate it all.

Start at about 25 mins in:

///How we see and where we look.

///The displacement in the angle of vision.

(((UvR and AK displaced through occupation and othering)))

They have a new angle of vision in their displacement.

This is manifested in their work - only it will be translated again.

28 Scale/scalar

30 Benjamin quote: Displacement angle of vision a positive element emerges anew…..Dialectical contrasts

Breaking constructed intention.

Interstices smallest change makes a small difference - scalar notions of translation and history - small movements  - it is from them that Life is born anew.

Translation is a temporal displacement of scale.

 

Negative paddle recycled /  by Justin Harrison

A quick experiment/Physical sketch - gluing recycled packaging together, I plan to add black paint to emphasise the negative space. Also need more card. It came together relatively quickly and I hope to get it concluded pretty soon. I especially like the departure from straight lines caused by the indents in the packaging. It gives it a new dialect that I hadn’t anticipated.

Again I notice I am repurposing rePlacing materials, a new identity and yet a previous history. Moving across time and intent and purpose. Making small spaces, aspects, interstices.


 

Studio notes Brittle Paddle /  by Justin Harrison

I’ve been in the studio a couple of times in the past week and have been trying to push through some of the ideas that are accumulating. Make lots.

The paddle as a motif and a series is a current preoccupation although I do wonder if it would benefit from abstracting more.

One ‘physical sketch’ came about by just having materials around and placing them together, I saw a relationship between them, brittle and splintered fencing panels)that I currently have ‘in stock’ around the studio) in various shades and tone, gave themselves to a loose form of a paddle - not exact just essences - I liked the departure form a formal representation.

(As a foot not to self the wire brush works really well at selectively removing layers and tones, it enables me to ‘draw’ upon the sculpture).

The paddle feels like it wants be a lot more than a signifier of of a navigational tool. making a series of them in drawing and making gives me time and space to contemplate it’s role which also ties into my research paper. Examining liminal spaces there function and characteristics.

I’m making work a lot looser and rougher than before, I’ve left the craft behind for ‘more production’ I think the work is benefitting from it. Before I erred on the side of craft, which slowed me down and I think sometimes was a cover for a lacking in m conceptual underpinning. That if it was pretty enough I could be forgiven for not really being able to describe what was happening.

All is left clamped up and gluing again, (with a cheeky addition copper that asked if it could be included).

I need to make some room - have a clear up there’s a lot on my workbench still…

 

I AM EVERYTHING YOU DON'T WANT. I AM EVERYTHING YOU LEFT BEHIND #8 /  by Justin Harrison

Image my own

This time I took the wood home. Carried it across London for 2 hours, cos I had other stuff to do. Walked into restaurants and shops clutching the abandoned under my arm, a surrogate father to the unwanted.

The plan is to make another paddle from only the constituent parts.

We’ll see there’s a lot of stuff mounting up in the studio that is half made…

 

Studio Notes /  by Justin Harrison

Little nothings - in the studio and I’m making more quick pieces, they don’t feel deep but maybe that’s ok. What they can lead to is more interesting. I do worry that I’m not landing on any one pursuit. I still like to surround myself with materials, my desk is littered with bits of wood leather and copper piping.

I cut my finger magnificently and there is a fair bit of blood. I curse a lot, not because it hurts, but because it’s gonna slow me down.

These pieces confuse me, they come from me and there are qualities about them that I like, but I’m not often sure why.  I want to draw and yet I end up making  the physical sketches. I think about Matthew Barney and how his work moves between sketches and sculpture. Is this a root that my work also takes? How dp I find the equilibrium between the two.

What is my work about?

Being set apart? Margins?

What about the photography and prose?

I do notice the motif of reclaimed materials, it’s becoming a stronger preference, the motive I suspect is primarily financial, but also a rejection of capitalism and a concern for the environment, I am mindful of my presence. The more I research capitalsim the more objectionable it becomes.

In addition the history to the materials helps me to construct the work. This came up before in Jericho where the provenance mattered - even if it was just to me and definitely influenced the work.

 

Making stuff /  by Justin Harrison

I glue some more battons together in the stack as it felt too light weight not enough presence, fiddle with a clamping system and revert back to string wrapping.

Then I turn my attention to the base plate - Ive been sanding it and start thinking about just the transformation the material from rough to finished - am I adding value or meaning? Can I also do this with copper too - I still want to draw on it. (I also realise I should have dipped it in water to raise the grain before adding some oil - but I got too excited by the material wanting to see its grain)

Still not sure about the direction of the sculpture stuff it seems too tight and controlled and unimaginative. I don’t feel excited about it. But I need to push on and make not worry.

I move on to a funny little piece started last time I was in the studio the tin batton pieces I’m following the idea that at times it’s good just to make and not overthink but let the art evolve. I’m undecided what exactly its about other than ‘an article’. A collection of physical sketches. I keep on rearranging it and get tired and just make a decision and glue it.

Ursula Von Rydingsvard has a collection of pieces called ‘little nothings’ a collection of smaller less self-conscious pieces. this seems like a helpful technique and I’m trying to fill my bench with quicker pieces whilst I settle with my practice.

Then because it’s been on my mind and in my drawings for a while I cut out a paddle from a fence panel. It’s crude, quick and dirty. But then. I am trying to make quick pieces too and to do it to my satisfaction would realistically take weeks. There is something satisfying seeing it in the physical, it represents something but needs to go under more transformation.

When mounting the paddle quickly on the wall to view it I place the ‘article’ next to it and something small happens that I like. A relationship strikes up between the two pieces it’s small and quiet but present non the less. I leave up and arrange the there current pieces to see them together.

There are various thoughts around the purpose of the paddle that I’m beginning to explore in sketchbooks also relating to the vertical poles.

 

States of mind /  by Justin Harrison

I’m working on assorted projects in the studio. With the mantra ‘make lots’ in my head. I know I can get caught up with trying to perfect stuff and so faster ‘physical sketches’ and experiments makes sense. But I do find it hard and it has been so for the past few days. A lot of my work feels silly. I care about making good work, but then to make good work means letting go. Work that is constrained doesn’t breathe, but is stifling. So I come back around the circle again to - just get on and make.

I start by cutting more wood with no real plan, other than dividing it up to smaller and smaller pieces, with a loose plan of reconstructing it.

Implementing more time limited piece - I set the clock for 1hr. By the end of 2 hrs I have two pieces partially made - (gluing). And a third is glueing to0 - but that’s been evolving over a while.

I’m trying to capitalise on the limited deadlines as a launch point for developing the thread of ideas. Although today I don’t feel entirely convinced. But I do know it works, things reside in my preconscious and I all too often reject them and don’t document them. but if I’ve learnt anything it’s that making and blogging captures the elusive and transient thoughts that actually coalesce into more.

Also this helps document some practical stuff like better ways to secure items whilst glues sets. (String wrapping).

It’s an interesting process - moving through different emotional states with my practice. Some of which I’m learning to ignore as they are counter productive, arresting my process.

I like the more inquisitive states I’ve been finding, photographing and writing and reading as well as making.