A studio process piece about families
about what belongs with what, (or who with whom).
about the pleasure of the making. . . and then what?
about the pleasure of the making. . . and then what?
I made dozens, hundreds, of little images, in various colours, viscosities, configurations.
Then, I wanted to 'do something ' with them. Like single words are put together to make a sentence or tell a story.
I was hoping their significance would be revealed if only they were put together in the right way.
Then, I wanted to 'do something ' with them. Like single words are put together to make a sentence or tell a story.
I was hoping their significance would be revealed if only they were put together in the right way.
A mosaic of 300 hundred monoprints from different 'Families"
one single monoprint 1 x 1 1/2 inches
one single monoprint about 3" x 2"
Prints sorted by motif,
in vertical lines
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For each print I put a little curl of masking tape on the back to stick them on the wall.
Each time I changed the position of the print I penciled their position on the wall, marking the spot, leaving evidence of their having been there.
Prints sorted by motif, joined with neighbours.
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The shape was created by the way the individual prints were joined.
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Who belongs together?
These are some monoprint 'Families'
Solid background / one motif with solid roll or flipped
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'Families': printed from one plate, in one pull through the press, but onto multiple rectangles of paper laid next to each other.
They have same colouring but different motifs.
They are individuals but generated from the same materials and processes.They are like a litter, like siblings.
These are my 'Families'
The 'Ghost 'is a second printing picking up any remaining ink,here printed on one large sheet and revealing the grid structure of the process.
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. . . what was left. . . a wall with tape and pencil marks . . .a box
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Adding words Quotes from: Claude Lévi-Strauss, I don't know who, A man on the radio, Myself
Quotes from: Myself, Doris Lessing, Myself, William B Yates,
A single stencil motif taped on to the wall
Photocopies of what was.
With photos, photocopies, and texts I made a summing up to try to come to a conclusion.
But there is no 'right' way, no best way, no definitive way.
The point was bringing them together.
But there is no 'right' way, no best way, no definitive way.
The point was bringing them together.
Forcing the point made a lugubrious conclusion, almost funereal
All kinships remembered by tape and traces, but who with whom?
What is "Beside the point / Rien à voir"
Beside the point / rien á voir is a work that examines the relationships between the generative and the organizational, growth and construction, nature and nurture, kinship as identity, commonality and choice.It is a temporal studio process installation event in successive waves of layers, orders and shapes, using mini-monoprints, masking tape, pencil, wood box, photocopies, and photography. Montreal 1991
Having grown up in a non-'traditional' family I am particularly interested and invested in the different ways things, people, are thought to belong together.
While working at the Guilde Graphique print studio I built a large repertoire of stencil cut-outs. I found I needed wall space to work with them.
My friend Victoria Wonnacott https://vicwon.com/ was working then primarily in 3-d and stand alone canvases and so had a big beautiful blank wall available.
I asked and was invited to share her studio for a time. I didn’t need a lot of 'room', just that wall. I wanted that 2-d space.
The real conclusion occurred when the 300 pieces were dispersed at a big party. Sets of prints were chosen by friends and collectors and sent on their way.
Beside the point / rien á voir is a work that examines the relationships between the generative and the organizational, growth and construction, nature and nurture, kinship as identity, commonality and choice.It is a temporal studio process installation event in successive waves of layers, orders and shapes, using mini-monoprints, masking tape, pencil, wood box, photocopies, and photography. Montreal 1991
Having grown up in a non-'traditional' family I am particularly interested and invested in the different ways things, people, are thought to belong together.
While working at the Guilde Graphique print studio I built a large repertoire of stencil cut-outs. I found I needed wall space to work with them.
My friend Victoria Wonnacott https://vicwon.com/ was working then primarily in 3-d and stand alone canvases and so had a big beautiful blank wall available.
I asked and was invited to share her studio for a time. I didn’t need a lot of 'room', just that wall. I wanted that 2-d space.
The real conclusion occurred when the 300 pieces were dispersed at a big party. Sets of prints were chosen by friends and collectors and sent on their way.
plans, notes, lists
The individual prints were laid out in successive configurations/ groupings/ kinships, according to these criteria:
- colour
- legibility
- sign (image/object)
- composition type
- including white borders
- structure or process
- size/shape
- bottom established by decal edge
- subject / ground relationship
- complexity or simplicity
HOW TO:
Arriving at the Families of prints.
A large bottom plate is inked up. Stencil motifs inked up and laid out on top
Small individual sheets of paper are laid over each stencil motif.
A covering newsprint sheet is placed on top, and the whole assemblage is pulled through the press.
The individual sheets are pulled off revealing a group of loose individual prints.
The Background
There is also the ghost print, a second print on one large sheet that has picked up any remaining ink, and reveals the grid structure of the process.
The Ghost is a second printing picking up any remaining ink,here printed on one large sheet and revealing the grid structure of the process.
on a large sheet
The are of the same colours but different motifs.
These prints are like a litter, like siblings.
They are individuals but generated from the same materials and processes.
These are my 'Families'
Arriving at the Families of prints.
A large bottom plate is inked up. Stencil motifs inked up and laid out on top
Small individual sheets of paper are laid over each stencil motif.
A covering newsprint sheet is placed on top, and the whole assemblage is pulled through the press.
The individual sheets are pulled off revealing a group of loose individual prints.
The Background
There is also the ghost print, a second print on one large sheet that has picked up any remaining ink, and reveals the grid structure of the process.
The Ghost is a second printing picking up any remaining ink,here printed on one large sheet and revealing the grid structure of the process.
on a large sheet
The are of the same colours but different motifs.
These prints are like a litter, like siblings.
They are individuals but generated from the same materials and processes.
These are my 'Families'