My sketchbooks would never be considered “art journals”, but that’s okay–they’re WORK books, not cheesed up multi media shows of virtuousity. (Yes, some of those are lovely, and for those who work primarily in painting/sketching/printmaking, perfect. Not so much however for those of us who “translate” to another medium!) And honestly, most of my notes, sketches etc, are actually loose sheets in an expandable folder from the dollar store. When i finish a project, i file them immediately. I have only once participated in a show where the “documentation” was intentionally part of the show. It’s interesting for some to see the process this way, but a lot of artists i’m sure would have a heck of a time “explaining” the linear progression of sketch to sample to work–because usually it’s all decidedly NOT linear 🙂
I have no desire to re-create precisely what is on the page. Work books are just that: lab samples, experiments, epiphanies and eurekas, cryptic notes and puzzled fumblings, shared only, and rarely, as part of the process, documentation that indeed, i did invent this. I have no need to pretty up the performance so i can wow somebody. Workbooks are gardens, the ideas are seeds in mysterious packets, and no one really knows what will pop up under the right–or wrong- conditions. My “back 40” is wild, unkempt, full of what others consider weeds, piles of branchy debris and bits i’m “saving”. (Much like the actual Back40 at The Stately Barr Manor……)
I think the planning for the “vision” for this one is going to take more work than normal. These are only snippets of ideas, like creating a mood board from scratch! Sometimes i do that, sometimes i don’t.
An old sketch that was used for two different pieces of work, has surfaced. (One and two.) This one has me quite fascinated again, not only that it helped create two totally different from each other works before, but that i can use it again, and it will be again completely unique to itself.
The river and sky colours keep attracting me, though i’m thinking of earth and a dusky sky now, rather than the clear blue of indigo. I have some logwood dyed fabrics that are astonishingly purple, but think i’m going to fire up some of the cochineal and iron again also, for the haremcloth.
I’m quite excited by the idea of this particular “hope it works, and hope it gets done” piece. I’m a bit scattered now, with Real Life issues that are Very Important to Deal with, but am planning some dedicated time with the whole process. I have no clear vision yet of the size, the whole, the techniques or the end result (!!!), but i know i AM on the right track.
(I have only ever ONCE taken sketch to textile interpretation “faithfully”, exactly as shown, pure luck that i had the fabrics to do it, and the stamp and stencil that started it. Heart stamp and crow stencil, my designs.)