Feb. 19th, 2021
Current research goals:
I am slowly determining tangible connections in my process to my research goals for mid-term critique, and for the end of term. Growing off from my reflection in December, I have decided to make three forms that represent different types of bees and their homes- one for cavity nesting bees, one for ground nesting, and one for/about honey bees. They all will speak to our relationships as humans with bees and their essential role in our food systems, and therefore ecosystems.
In addition, I want to put my plan for community interaction into a zine piece that would combine my concept, tangible research, and bee imagery. I will collect relevant cut outs and scans of my sketchbooks and writing to form a booklet that I hope will feature a suggestion of a “scavenger hunt” of my capstone project. I lack experience self-publishing, but I have made single, small collage-poetry zines in the past. My goal is for it to function as an extension of my work to mail/give out (while the pandemic is still present) to the wider community to encourage sharing knowledge about art and pollinators together. My research and adoration of artist Diane Borsato’s work that engages people with the natural world will help in this part of my project especially. The zine distributing may realistically end up happening towards the end of April.
I am moving through the studio process overall with more clarity now, entering the production of my work- and with it comes new challenges and adjustments. Throughout, I am continuing to explore themes like home, ecological grief, and interconnectedness through creating these sculptural textiles. This project is intended to honour bees and the strong connection between their habitats and people in the urban landscape. By choosing to make for three general types of bee nests/homes, I am aiming on expressing gratitude for the nature we are a part of and the potential for more biodiversity!
sketchbook development (click arrow for more pages!)
Materials and Process:
I am mainly working with scrap fabric- some eco-printed cotton, wool and some linen- cut into strips, sunflower stems, and cotton twine. Also, with materials I am less familiar with: fibre rush, round reed, bamboo (possibly), wire, cord and jute twine in the structures.
The materials specifically have turned out to be less important than the act of combining them. I have found a strength that can be made bringing them into a woven, basket-like forms. It is important to me that the materials are connected to natural places and materials that reflect bees’ nests.
So far, what has not worked is making woven forms (tapestry or basketry-based) that layer the fabric and more rigid parts too densely, especially in the “weft” of one piece. Although it creates a cool tapestry, it may not be communicating my ideas as effectively.
I am challenged to weave/ build with a more open weft and feature the warp/ perpendicular elements intentionally. I hope it will provide breathing space to appreciate the colour, fabric twists, twining, and other weave structures in a slightly larger scale through contemporary basket forms
weaving experiments with metal fencing, twisted paper and tubes, and plastic fencing
I am now trying to find coherence in the work with the materials and technique, and not only with the concept. The project journey has shifted by moving through tests, and onto larger works. I am shifting my approach of using lots of recycled materials in one structure too. Instead, I choose limited sets of material combinations for my forms to create texture, colour, and scale relationships that continue to speak to me.
Eco-printing at home:
This week, I was able to achieve a deep yellow colour associated with bees and the land by steaming mostly turmeric in bundles of chosen cotton, hemp silk satin, linen, and wool fabrics. Other ingredients include blueberries, sumac berries, dead marigolds, and rust prints (included instead of an iron mordant as the chemical reaction in the steaming process). As I worked with the turmeric, I realized it was like pollen on my hands! Although the turmeric plant is not native to Canadian climates, it is exciting to make another small connection to bees. Many (but not all) of their bodies’ colouring, and the core material collected in pollination are represented with this yellow.
glimpses of eco-printing process!
Reflection and discoveries:
I am discovering that I am really interested in bringing what I know from tapestry weaving on a loom into an off-loom structure. Upon reflecting on this way of making, I realized that rather than choosing an “easier” process to make the bee-home-sculptures, I am weaving collected materials as direct connection to nature through basketry-related forms. I further connect this to human survival and our ancestors living with the land which is only made sustainable if bees are in the bigger picture too.
The process of weaving dimensionally allows for reflection of the effects of ecological grief through time and materials. I was also thinking about a quote by textile artist Tali Weinberg who makes work connected to climate change data:
“… weaving in connection to social, human change- language for women and marginalized people.”
I believe this is in direct connection to climate change by speaking to groups of people who are often primarily affected by environmental changes. In a way, I weave in connection to bees as a symbol for all marginalized beings.
Challenges:
It has been difficult finding a role for colour now and realizing it has not been as important as I initially imagined it to be along with ideas for structure. I see this as a departure from the weight I usually give to colour consideration and my multi-coloured works!
In my visual inspiration, the colours of bees and earth are helpful to reference, such as various colours of native bees’ bodies, wildflowers, sand and mud. The colours bees can see (which include U.V. light wave-lengths invisible to human eye!) are inspiring to me but have not made their way into this project.
I could use colour to indicate the inside vs. outside of the structures and play with fine to “heavy” wefts contrasting with warp/ “stake” parts in spaced, dimensional stripes. I want the minimal, earthy colours to complement the forms.
Aside, I am challenged by using some techniques I have only recently taught myself in the process, or learning as I make, and finding confidence in taking risks making my work first imagined on paper into dimensional objects!
set up on loom for weaving first structure- the black plastic is temporary (acting as a part of the framework)
New questions:
After peer critique, these questions formed:
· How can I continue to balance information from research and writing with the physical process more effectively?
· What parts specifically of my process of weaving or building the work could I carry into my zine planning to share ideas for community interaction?
· How can I present the work without being overly didactic/explaining all the information to the viewer?
Moving forwards, I am discovering how many possibilities for expanding my capstone project there are past school, including:
· considering what stewardship towards local ecosystems around Toronto could look like connected to my process and project outcome as it evolves.
· beyond a bee-specific concept: researching queer ecology and how this can blend with regenerative, eco-based art/craft/design
· dreaming up where my art and art by fellow makers around Toronto (and Canada) could contribute to social and environmental issues intertwined, such as nature connection projects in Toronto with species and habitat conservation.
Thanks for reading!
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