Title too dramatic…? Being an artist does act as a licence to be dramatic and I feel like being dramatic today.
This past week or two I’ve learned that a technique and process I’ve developed and used for the past 3 years isn’t as awesome as I thought it was. To put it in perspective; I thought that chances were good that I would be able to make a name for myself using it and it turns out that Chinese restaurants beat me to it.
This is work that I made at the end of last year. I aimed to give substance to the artist’s companion while leaving it untouchable. The artist’s companion I’m talking about refers to the work itself as something the artist can converse with when people just aren’t enough (I experience this regularly). I reached this technique after various experiments and failed work.
Now, let me introduce you to the wonderful Laima Laizane (click to browse through the images on her site). She creates what she calls ‘spacial art’. She uses both UV and projection (which I’ve recently started dabbling with) in conjunction with string and even has a ‘liquid installation’ where drops of some kind (I’m assuming it’s an oil) run down strings. It seems that her major focus is on maintaining movement in her work by either letting the strings sway in the wind, projecting moving images on them or making liquid move across them. I, on the other hand, prefer creating frozen frames of scenes or objects.
I love her work. It is visually pleasing and makes you want to take a second look. Being how I am, however, means that this forces me to rethink the last 3 years I’ve spent working on this process.
My current work is a rendering of a scene from a famous Alice in Wonderland illustration by Sir John Tenniel in which I explore my own childhood. WIP Images to follow:
PS: The bird posted earlier in this post was made in a frame 25cm (about 10 inches) high. This scene is in a frame 75cm (30 inches) high. I thought it would be 4 times the amount of work, but quickly realized how wrong I was. The bird used 90m (295 foot) of string while I’ve used more than 1.2km (3937 foot) of string on the Alice scene and it’s not even half way done.
This last photo describes how I feel about my work after all of this
It’s back to the drawing board for me.