Sunday, March 13, 2005
transition period
3/13/05
The language, while helpful initially, is now proving cumbersome. It directs (or suggests) which forms the paper takes but the meaning-- perceived, ignored, over-perceived, intended, unintended -- makes the process clunky, awkward. Which words/phrases should I make? Ones that mean something? Nothing? And to whom? I feel as though I should care what my audience (in this case, Thom and Martin) read into it, then I feel self-conscious. If the words are going to be legible and visible, it seems to matter a great deal what they mean, what I meant.
Today I sewed together w/an electric sewing machine the formations I'd previously formed with the pins and folding, and tried to capture the different folds and buckles as well. I've begun sewing some of the sections together; haven't decided whether I'll sew them all together, or connect them on the wall again. I guess my inclination is to go back to the wall because I can continue to play with folding, pleating, blousing, pinning AND the wall, vs. just having some weird quilty thing. I do not wanna make some quasi-quilt b/c I figure if I'm gonna make a sewing-type piece (i mean, something that falls within the realm of real sewing), it should be authentic. Besides, I really want to try for more horizontally reaching volume.
The effect of sewing is flattening, which made me a little sad (I think I'd gotten attached to the buckled quality of the formations w/pins); and they lost the visceral quality the pins gave them. But I'll keep plugging away, and hope that the thing comes together on the wall.
I told Kara Maria at Samovar what I was working on. She responded and said that she used to read and write poetry, and thought maybe at one point that that would be what she did. But then she said that words got "slippery" and had that she'd been betrayed (misunderstood) by the words she'd used in the past. They get overused, misused, and never communicate exactly what one person intended.
The language, while helpful initially, is now proving cumbersome. It directs (or suggests) which forms the paper takes but the meaning-- perceived, ignored, over-perceived, intended, unintended -- makes the process clunky, awkward. Which words/phrases should I make? Ones that mean something? Nothing? And to whom? I feel as though I should care what my audience (in this case, Thom and Martin) read into it, then I feel self-conscious. If the words are going to be legible and visible, it seems to matter a great deal what they mean, what I meant.
Today I sewed together w/an electric sewing machine the formations I'd previously formed with the pins and folding, and tried to capture the different folds and buckles as well. I've begun sewing some of the sections together; haven't decided whether I'll sew them all together, or connect them on the wall again. I guess my inclination is to go back to the wall because I can continue to play with folding, pleating, blousing, pinning AND the wall, vs. just having some weird quilty thing. I do not wanna make some quasi-quilt b/c I figure if I'm gonna make a sewing-type piece (i mean, something that falls within the realm of real sewing), it should be authentic. Besides, I really want to try for more horizontally reaching volume.
The effect of sewing is flattening, which made me a little sad (I think I'd gotten attached to the buckled quality of the formations w/pins); and they lost the visceral quality the pins gave them. But I'll keep plugging away, and hope that the thing comes together on the wall.
I told Kara Maria at Samovar what I was working on. She responded and said that she used to read and write poetry, and thought maybe at one point that that would be what she did. But then she said that words got "slippery" and had that she'd been betrayed (misunderstood) by the words she'd used in the past. They get overused, misused, and never communicate exactly what one person intended.
// posted by Scoop @ 11:13 PM 
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