Having my work critiqued last month during Testing Time was really valuable gaining different perspectives and interpretations. It was easy to feel overwhelmed by all the feedback but I knew I had to be true to myself and go with what I thought would be the most satisfying route to end my MA.
I recognised this was an ideal opportunity for me to take more risks and take myself further outside my comfort zone. Whether or not this pays off it is uncertain but at least I would have tried and learned from the experience!
As the formation and growth of the Kombucha offered so much to the fabric, I wanted to keep things simple. I was still interested in creating ‘sequences’ of individual pieces but I also wanted to try and grow a continuous long piece which would be almost like sequences attached together end to end but without the joins.
I set out to construct a 3mtr and a 9mtr trough to grow the long Kombucha.
This was high risk because it would need to be done outside with no control over the ambient temperature and the trough would need to be watertight and weatherproof. The growing Kombucha would be vulnerable to contamination from insects and debris at the conception and growing stages so I would need to put in place methods to minimise this.
Harvesting and drying the long fabric on wooden boards would be challenging and potentially impractical because of the size.
Research leads me to believe, this has not been done before at such a scale so this potentially would be original and innovative work.
This is now a period of uncertainty, to begin with an idea but not quite knowing what will result. I embraced the excitement although there is both a tension and excitement in this process in which I am the initiator but not the controller (Andy Goldsworthy 1992).
Running parallel with my Kombucha work (and a bit of escapism away from the tension and uncertainty) I set myself the challenge to explore how the concept of time and change can manifest itself through drawing and 2D work.
From a drawing workshop by Jon Barraclough (2016) I recall him questioning whether it was possible to make the invisible, visible just like Paul Klee (1961) when he stated that Art does not reproduce the visible (what is commonly seen) but makes visible (what commonly is not seen). This was my aim.
My drawing work goes beyond representation or appearances and is more about describing, translating and interpreting a possible answer to a question.
Some of the drawings were exposed to the elements to change over time. I also took my drawings to the sea and used the tide as my collaborator.