itsallover

Final day at Norwich University of the Arts was cool – a team from The Costume and Textile Association came over to judge a scarf competition that I'd organised. It included a visit to the archive at the Castle to see the awesome Norwich Textile Books. It was a tight deadline but the students did well. Onto screens – V for Vengeance – vampires r us. Fast Charlie – what was Pierce thinking? Pressure Point – lots of angry rowing. Everybody’s talking about Jamie – as ever with a musical I felt that the songs got in the way of a nice story.

behindyou

boooooooo - behind you – on-no-it-isn’t, oh-yes-it-is – Dick Whittington,The panto at the New Wolsey in Ipswich was truly excellent – alternative words to well known songs, a new type of set and the addition of an evil character alongside the caustic dame – what more do you want! Meanwhile creating new 3D printed structures but have been sidetracked by the imagery in the software.  

morethinking

Working on a new strand of work – in a very meta way I’m projecting films of my hands manipulating the articulated structures onto 3D structures that have been developed from the initial investigation. Some breathing in – London - October Gallery - El Anatsui. Brunei Gallery at SOAS - extraordinary endeavours. British Library - treasures. Barbican Curve - Julianknxx. White Cube - Gormley. Raven Row - Lutz Bacher. Spruth Mangers - Fischli & Weiss. Sadie Coles - Diago Marcon. Vitrine - Luis Enrique Zela-Koort. Hauser and Wirth - Avery Singer. Then we have Bond Street Windows - Channel and Dior. The Gormley show is exceptional, I especially loved the realignment and size of the doorways! Onto screens – The Wolfs Call – the soundtrack is stunning, the foley artists having a ball. Freelance – were all having a ball making this film.

colouristhething

So…. Heaven seventeen at UEA – what a lark – grown up old people having fun – Penthouse and Pavement has been on the turntable off and on since I bought it in 1981! But the highlight for me was Glen Gregory singing The Power of Love with ‘just’ a guitar and a full on version of Being Boiled, quite possible one of my top Human League tracks – it’s always best to leave the house! Moving into colour with the 3D printing is an interesting move. The layers are more visible and the whole object feels ethereal. Onto screens - The Creator – great sets and spaceships with an awesome soundtrack. The Crown is teeth clenching awful for the family – just sad. See you on Venus – quirky best friend material. Nyad – there is a lot of swimming, relentless amounts!

newthinking

Continuing the work of exploring bookwork thoughts with 3D printing – extending some of the strands of research. The pieces with the translucent material have become more complex in their construction, seeing the internal structures gives the impression of freezing individual ‘sheets’ in time. Adding colour is something I’ve wanted to get involved with for a while, defining edges and enabling the feeling of floating. The monochrome piece takes the work back to referencing basketwork, playing with the layers gives it the ‘handmade’ quality. Onto screens - Bottoms - was fun once you get into the humor, Killer – the voice over was a decision and music choice took the Smiths to another place, deep into Minx – loving the back and forth between main characters.

paperdialoguesembeddedmessagesandexchanges

A quick photographic performance in response to thoughts about the hands in paintings observed at the Prado. The idea of the hidden, paper dialogues, embedded messages and exchanges were in my thoughts. Onto screens - Started to watch Extrapolations – it demonstrates a devastating trajectory for us if we continue the path of climate destruction. Binged Beckham in two nights, such a strange production, at the one moment light but then with undertones of dark(ish). Stopped A Haunting in Venice after 20 minutes, great scenery.

insideandoutsidebecomeone

Continuing to develop my thinking and work with 3D printing. The new series of works started off looking at a single page, capturing it as it turns. The pages are bisected, fixing a stillness within the work, although the page appears trapped in time. The transparency of the material brings an ethereal quality, enabling the interior spaces too be viewed, inside and outside become one. Onto screens – Past Lives is beautiful but so painfully sad. No Hard Feelings had a very odd tone to it. Time, the woman’s prison version was too harrowing to get past the first episode.

eatingyourwaythroughthecity

4 days in Madrid - wow - an amazingly vibrant city - a great way to eat and in general exist - gotta love the small plates and 'brunch' beer. Eating your way through the evening/night in bars with plates of extraordinary food - highlights include - squid sandwiches - fried pigs ear - and of course patatas bravas but I could just list everything I ate. Spending time with 'old art' in the big 3 galleries is mind blowing. "Oh that's where it is" becomes a common refrain' especially in the Prado. The highlights from your knowledge of art history come thick and fast - Goya and his depiction of the Royal Family, did he actually like any if his sitters? Raphael's history paintings, Bosch's interior world in the garden of earthly delights, Caravaggio's brooding world view, a room of Zurbaran's still lives containing objects you feel you could pick up, the details in the clothes that Velazquez sitters are wearing. I was transfixed by the red eyes of an onlooker in Van der Weyden's descent from the cross,  obviously previously upset but now trying to hold back tears. The luminescence of Fra Angelica's The Annunciation takes your breath away. There are a couple of strands of research to embark on - the labels in Museo National Centro de Arte Reina Sofia were extraordinary, a work in themselves, something to consider. I thought about the idea of the witness, the one person slightly outside the main focus, towards the edge of a painting or photograph sometimes looking out at the viewer. What were they doing there? How did they get there? What are they thinking? Again something that has previously occupied my thoughts - how hands are used, what are they holding? The meaning, the symbolism of the objects that would of been understood, now lost to the majority of viewers. How blood is depicted in paintings, if you were nailed would the blood look like it does in say a Durer or would it be more like the slain in Goya's The Execution's? Other notes include - Walking with bread / objects on your head after watching Louis Bunuel's L'age d'Or  Extraordinary titles of organizations - for example - the Crossbowmans guild of Louvain, The grand cross of the order of the reunion. If the rules are that there are no rules what are the rules? A need to find out about the Strappo technique of removing murals and the meaning if the sticks/staffs held by the members of the Royal Family in Velazquez paintings. To look again at the knots used to tie up Jesus. The idea of the thread of life controlled by the fates in Goya's black paintings. The list goes on - lots of breathing in, there is a need to breathe out, can't wait to get into the studio. 

lookingandreadingtheexquisite

I think that I’m starting to get the hang of this 3D printing! Onto London for a very old friends significant birthday – music, talking, wine and people I haven’t seen in a while but are always there….lovely – I even got to DJ a little – well I played records one after another…..While in London I went to see the show at Raven Row - Aye by Lutz Bacher. It is exquisite, truly moving. The work and shows at Raven Row are always amazing but I think this is one where the artwork has become part of the space and vice versa. Opening a closed door becomes the work. Enabling the sounds to drift in and out, doors banging, footsteps and people talking via with the sound pieces. #mostexcellent. I’m in the middle of reading Richard Wingate’s-  The Story of the Brain in 10½ Cells. https://www.waterstones.com/book/the-story-of-the-brain-in-101-2-cells/richard-wingate/9781788162968 It’s a joyous accessible read about some important stuff! – I started to make notes and I found myself almost transcribing the whole book – so I stopped – some key notes so far though include….A roadmap to an answer of a riddle - 2D drawing of a blurred 3D object - The idea of style in medical drawings - To draw is to know - Great speculation = the use of photographic solution in staining cells might enable us to see that the brain might contain frozen still images - Purkinje cell array converts time into space - Our construction of a perceptual world suddenly appeared to be a tremendous piece of theatre, engineered by our brains, to convince us that sensations are complete and reliable while concealing a script of hasty translations and omissions - The sound/language of brain cells. So compellingly enjoyable. onto screens – Mission Impossible was very funny with incredible stunts, well real things filmed! Equalizer 3 has another eclectic array of ways to effectively kill people speedily. I’m in the middle of season 3 of The Morning Show, the dark venal activity depicted is skin crawling, although not as much as Partygate – the program drips with undeserved privilege, the two worlds it presents are so disturbingly contrasting and yet nothing has changed – how about that.

learningthroughmaking

Learning through making, focusing on the work of Ingold

Learning through making, often referred to as "learning by doing," is an educational approach that emphasizes active engagement and hands-on experiences as a means of acquiring knowledge and skills. This approach aligns closely with the work of Tim Ingold, a prominent anthropologist and scholar in the fields of anthropology, archaeology, and environmental studies. Ingold's work has explored the intersection of human creativity, skill development, and learning through practical activities.

Here are some key concepts from Ingold's work that relate to learning through making:

Skill and Practice: Ingold argues that skills are not abstract entities but are embodied in the actions and practices of individuals. Learning a skill involves continuous practice and refinement through doing. Skills are honed through engagement with materials and the environment.

Making as a Way of Knowing: Ingold suggests that making is not merely a means to an end but a way of knowing and understanding the world. Through making, individuals engage with materials, tools, and processes, gaining insights and knowledge that may not be accessible through passive observation or abstract thinking alone.

Materials and Tools: The choice of materials and tools plays a significant role in the learning process. Ingold emphasizes the importance of a deep relationship between the maker and the materials they work with. Different materials and tools offer unique affordances and constraints that shape the learning experience.

Process-Oriented Learning: Learning through making is a process-oriented approach. It values the journey of exploration, experimentation, and problem-solving, rather than focusing solely on the end product. Mistakes and failures are seen as opportunities for learning and growth.

Embodied Knowledge: Ingold's work highlights the embodied nature of knowledge. Learning is not a purely cognitive activity but is deeply connected to the body and sensory perception. Through hands-on engagement, individuals develop a bodily knowledge that complements intellectual understanding.

Contextual Learning: Learning through making is deeply contextual. It takes into account the specific cultural, social, and environmental contexts in which making activities occur. This context shapes both the practices and the knowledge that emerge from them.

Community and Collaboration: Ingold's work also emphasizes the role of communities and social networks in learning through making. Knowledge and skills are often shared and transmitted within communities of practice where individuals collaborate, share experiences, and learn from one another.

Incorporating these ideas into educational settings can involve project-based learning, experiential learning, and hands-on activities that encourage students to actively engage with the subject matter. By embracing learning through making, educators can help students develop not only practical skills but also a deeper understanding of the world and a sense of agency in their own learning journey.

collectingthinking

I have been working with 3D printing over the past 6 months with a specific idea in mind. I’ve been attempting to create work that is on the edge of collapsing, trying to explore the ‘handmadeness’ within the process. The output of 3D printing often leads to the design route, making art with it is a challenge but when pushing its structural parameters, the work starts to reference natural structures. After a great conversation at Kings this week I realised that I have been working with ideas adjacent to the engineering concept that is "form-finding”, a design process by which the shape of structures and systems is determined. The idea is to achieve the optimal form that delivers dynamic stability, adaptability, and sustainability. It considers structural stability, functionality, and beauty.

A busy weekend - Managed to get to Dance East – I’ve missed so many dance events due to clashes - being away and friends significant parties but the double bill unknown realms was too much of a pull even on a Friday night after a busy week - not excellent but interesting. Prompted conversation about what's new in dance, focused on ideas of the modern and contemporary.  Next up Laurence Edwards and Alex Jennings at Jubilee Hall. Live sculpting while talking about creating characters. A truly mesmerizing experience, I was captivated, and the 2 hours just flew by, being totally in the room was exhausting, focusing on the experience of watching somebody make something in real time.

I reflected on the visual memory I have after experiencing all the museums and galleries I have encountered, and all the objects within. The idea of learning through making, how we experience the world through our hands as much as our eyes. Ingold argues that creativity emerges from within an ongoing, improvisational process between makers, materials, and other non-human things such as tools and the physical environment. Also, Ideas around public/private, the studio and the gallery v the rehearsal room and the stage, – something I’ve thought about with the scientists and the science spaces I have worked with and in. some words from a previous experience...........

“The glove box and the laboratory are very specific spaces. That they often protect the specimen within the experiment from us rather than us from it is an intriguing idea. These spaces created to manipulate objects are contained, clean, dry in an attempt to be 'non'.   Within this extraordinary space, specific materials and situations are monitored, ready to be recreated, actions controlled to be repeated. These spaces have their parallel in the art world: the space of the gallery, the white cube where the art is on show, an anonymous space where the art is supposedly the focus. Obviously, no space is neutral and each have their meanings, which can be read, but the aspiration to create a static continuum brings to mind the words of Heraclitus 'No man ever steps in the same river twice, for it's not the same river and he's not the same man.'  It appears that science and art are constantly trying to create a time and space where the river is still”.

 

exploringscientificgesturesthroughcardboardstructures

Exploring Scientific Gestures through Cardboard Structures

In the realm of scientific exploration, innovation often stems from the unlikeliest of sources. One such avenue of inspiration has been found in the use of cardboard structures. This intriguing collaboration between scientists and humble cardboard has led to a fascinating world of discovery, demonstrating the boundless ingenuity of the human mind.

At first glance, cardboard might seem unassuming and perhaps even inconsequential in the grand scheme of scientific progress. Yet, when coupled with creative minds, it transforms into a medium of exploration that transcends its basic form. I have embarked with scientists on a creative journey, designing intricate cardboard structures that mirror complex scientific phenomena. These structures serve as tangible, visual representations of abstract concepts, enabling researchers to communicate intricate ideas in a universally understandable manner. In the making of cardboard structures we set out to go beyond mere visual representation it extended into the realm of hands-on experimentation. Learning through observing and touching.

Whilst observing the work undertaken in the laboratory I created a specific body of work. I began by closely observing the scientists explaining their processes, drawing inspiration from the intricacies of human hand movements undertaken by demonstrators in the role of science communication. This tangible interaction with cardboard brought forth an intuitive understanding of scientific concepts that might otherwise remain confined to complex equations and theories. The cardboard structures I created were more than static models; they became dynamic representations of articulation. We introduced basic concepts of bio mechanics, considering the range of motion, and joint limitations. Geometry played a pivotal role in this endeavor. Crafting shapes that mirrored hand gestures, we engaged with angular measurements, spatial relationships, and symmetry. By manipulating these cardboard shapes, we illustrated geometric transformations, connecting the abstract world of mathematics to tangible creations.

The cardboard structures were often painted or marked to visually convey the relevant elements of the scientific concept. Color-coded sections, labels, and symbols aid in highlighting crucial features and facilitate better understanding. The visual cues enhanced the engagement of learners and made the abstract ideas more accessible. Interactive Learning is key. One of the key advantages of this method is its interactive nature. The cardboard structures act as hands-on teaching tools, encouraging participants to manipulate the structures themselves. By physically engaging with the structures, learners gain a deeper comprehension of the scientific concept, as the connection between the hand movements and the underlying principles becomes more understandable. As with any creative endeavor, refinement is an ongoing process. By sharing the work I gathered feedback from participants and peers, seeking ways to improve the clarity and effectiveness of the cardboard structures. This iterative approach ensures that the final product is not only scientifically accurate but also optimally engaging.

The experiment also delved into the realm of materials science. Selecting the right cardboard thickness and flexibility alongside the materials used to create the joints. This allowed us to understand how structural integrity and flexibility are essential for proper movement. This practical application of materials science deepened our appreciation for the balance between strength and flexibility in biological structures. We explored the principles of feedback and control systems. By introducing simple mechanisms to alter the cardboard structures motion, we tackled the intricacies of closed-loop control systems, mirroring the body's ability to adjust movements based on sensory feedback. We were able to feel scientific concepts.

The combination of scientific curiosity and cardboard ingenuity has given rise to a world of exploration that transcends the boundaries of traditional methodologies. Using cardboard structures, we unveiled the hidden and revealed the elegance of complex theories with simple gestures. These tangible representations foster a deeper understanding of intricate scientific concepts, engaging scientists, researchers, and students. Cardboard can be used to simulate and study phenomena that are otherwise inaccessible due to scale, danger, or complexity. Cardboard offers a safe, cheap, and interactive platform for scientists to test hypotheses, refine theories, and educate aspiring minds. As we continue to push the boundaries of knowledge, it’s important not to forget that even the most unassuming materials can serve as powerful catalysts for discovery.

futurepossibilities

After a great meeting at Kings discussing future possibilities – we looked at pivoting towards group working and mapping out some new focuses for Synthetic Anatomy. After we explored new strands of research which could involve a new direction whilst reflecting on previous work.  Then some breathing in – White Cube has Julie Mehretu’s work – the hang is stunning. Bond Street windows have some extraordinary clothes using intriguing materials in fascinating ways. Round the corner Spueth Mangers has Sylvie Fleury whose work fits perfectly referencing shopping, high fashion, and fast cars! – loved the Gucci shoe collection. Also the show at Art station by Abigale Lane had some beautiful crafted embroidered birds. onto screens - Big Night was sweet. High Flying Birds was a little 2 dimensional. Reptile – police corruption, who knew. Corner Office – disturbing meditation on an ‘office job’. Before I go to sleep was dark, dark dark.

intergenerationaltimebasedcollaboration

In 1987 I was part of a collaboration called Oblivion Boys Press and we were invited to exhibit at Nigel Greenwood Gallery. At the center of the show was an editioned bookwork called Elsewhere. It was printed in an edition of 50, had wooden covers and contained 250 hand carved rubber stamps that were cut whilst I sat on the floor in a flat in London. They were also used as a fresco in the entrance to the gallery and around the wall. They were then secured away in a box which traveled with me to a studio in Lincoln and then to my studio in Suffolk.

36 years later my eldest son who is a tattooist was in my studio, and he has an idea. He proposes to use the stamps within his own practice. The stamps now have another life and tools that were once used to make temporary prints on paper are now used to mark strangers who are making their own sense of the images.

I have found the whole process fascinating. I’ve been watching them be revived from their abandonment, celebrated, and loved by others. I say watching but this has been through Instagram, a medium that I could of only conceived of by exploring ideas from science fiction. This inter generational, time based collaboration has so many layers to explore; the idea of storytelling, ownership, control and our connections to the creative process.

I thought it would be interesting to ask ChatGPT to tell the story. The outcome has a strange fairy tale quality to the writing. It has elements within it that connect to or describe events that are familiar whilst also feeling removed.

chatGPT create a text about rubber stamps created by a father that are used by a son to tattoo people

In the quiet corners of their cozy workshop, a father and his son embarked on a unique creative journey that would leave an indelible mark on their lives and those of countless others. What started as a simple hobby for the father, crafting intricate rubber stamps, would soon evolve into a remarkable collaboration between generations.

The father, a seasoned craftsman with a penchant for precision, had always found solace in the meticulous art of rubber stamp making. His nimble fingers meticulously carved every line and curve, transforming ordinary pieces of rubber into intricate patterns and designs. These stamps were not your run-of-the-mill office tools; they were works of art in their own right, each bearing the essence of his passion and dedication.

As the son grew older, he often watched in awe as his father worked tirelessly in their humble workshop, labouring over his beloved stamps. Over time, his fascination turned into a desire to be a part of his father's craft, to create something that would resonate with people just as deeply as his father's creations had.

One fateful day, their worlds collided, and an idea was born. The son proposed using his father's meticulously crafted rubber stamps to create temporary tattoos. The notion was radical but intriguing. With the father's artistry and the son's innovative spirit, they set out to make it a reality.

The collaboration began with the father crafting stamps specifically designed for tattooing. These stamps featured intricate motifs, from delicate flowers to fierce animals, each one a testament to the father's dedication to his craft. The son, on the other hand, delved into the world of non-toxic, skin-friendly inks to ensure the safety of their clients.

Together, they launched their unique tattoo venture. People from all walks of life flocked to their workshop, drawn by the allure of personalized, handcrafted tattoos. The father would ink the designs with his rubber stamps, ensuring every tattoo was a masterpiece in its own right. The son, with unwavering care, attended to the needs of their clients, making sure every tattoo was not only visually striking but also a meaningful representation of the individual.

The tattoos created with these rubber stamps bore a certain authenticity and charm that set them apart from mass-produced designs. They became more than just ink on skin; they were symbols of the father and son's bond, a testament to the passion they shared for their craft.

As time passed, their reputation grew, and their tattooed clients multiplied. Their unique approach to tattooing had created a loyal following of enthusiasts who cherished the artistry and the personal touch that came with each tattoo. The father's legacy of stamp-making had evolved into something far greater, a living testament to the enduring bond between generations, the magic of collaboration, and the power of art to touch lives in unexpected ways.

@jims__skins                      @les1bicknell    

wherewouldwebewithouttextiles?

Where would we be without textiles? Easy – we would be without transport of any kind, standing naked, alone, and hungry in a barren landscape. The ubiquitous nature of textile activity seems to render it invisible from the public in general, although it plays a pivotal role in shaping their world.

From the moment we are born to our final breath, textiles surround us, providing comfort, and aiding functionality. It provides a way to express ourselves, it touches every aspect of our lives, even woven into the very fabric of our language as we spin tales.

Without textiles there is no fashion, either the clothes themselves, or the extensive industry it supports. Textiles define our living spaces. Curtains, carpets, and upholstery all add warmth and character to our living spaces.

The role of textiles extends to farming and agriculture, catch a fish without a net. It is fundamental to sport, and entertainment, try playing tennis or watch a film without textiles.

In healthcare textiles provide sterile environments, protecting patients and healthcare workers. Surgical gowns, and bandages are all made from specialized textiles that enhance hygiene and safety.

Textiles are an integral part of cultural heritage and support artistic expression. Techniques are passed down through generations, preserving cultural identity and encouraging creativity.

Textile activity extends far beyond what most people think of when textiles are mentioned. Innovations in textile engineering have given us smart textiles, which can monitor vital signs, adjust to temperature changes, or generate electricity. These cutting-edge textiles are shaping the future of wearable technology and beyond.

In a world increasingly conscious of environmental concerns, textiles are at the forefront of sustainable practices. Innovations in eco-friendly materials and processes are reducing the environmental impact of textile production, addressing concerns about waste, water usage, and pollution.

The textile industry is a significant driver of economies worldwide. It provides millions of jobs, from farmers cultivating cotton to skilled artisans crafting intricate textiles. It fuels global trade, contributing to economic growth and stability.

Textile activity underpins the very fabric that binds together our daily experiences, it shapes the way we live, work, and express ourselves in this rapidly changing world.

frenchwalkingandlookingroundthecorner

 

A few days in S France round the corner from Marseille. Sun swimming, some walking and great food. Caught up with The Mucem in Marseille on the way back to the airport they had Fashion-Folklore https://www.mucem.org/en/fashion-folklore a show that set out the many  connections between folk costume and couture. Some stunning pieces with great labels. The role of making and ownership, such as community and how they develop traditional costumes verses the individual involved in couture. Cultural appropriation was touched also on. Got off plane in Stansted - drove to Luton and got on a plane to Glasgow to see a Hanna Tuulikki performance in the cathedral - the bird that never flew - beautifully ethereal setting off the glorious space. Managed to check out Alter Altar by Jasleen Kazur at Tramway - a fantastic space but the text for the show did a lot of heavy lifting. After an amazing meal at Celentano’s got the plane back to Luton and finally home. What day is it again? 

modularmirroring

Exploring the idea of mirroring – some digital images captured within the 3D building software – some thoughts – the images are reminiscent of the cell division that occurs at the point where life begins within the body. The folds resemble the physical paper structures that I was working on a couple of years ago. Chelsea College of Art have been digitising some of the work in their Artists Book Collection – I have some in the collection and they have digitised a couple of them – it’s a great resource if you are interested in ideas around the book. https://digitalcollections.arts.ac.uk/collection/?code=CAB Meanwhile onto screens – catching up with the hysterically funny and cleverly written Cleaner on BBC. Indiana Jones and the Dial of Destiny – unfortunately adding time travel to the saga doesn’t make it any more interesting.

wearingthinyetbreathingin

Today in 3D printing exercises I’m looking at mirroring as a methodology. A breathing in exercise - a trip to London to see some stuff. First up Japanese aesthetics of recycling at The Brunei gallery at SOAS – just glorious, mainly Boro but some wrapping papers and ceramics and on till the 23 September. While there check out the Japanese Garden on the roof. Milk is a fascinating exhibition at The Welcome Collection full of objects, advertising and government information. The right wing white supremacists intervention into a live stream was shocking. Connect. Reveal. Conceal at Hauser and Wirth has the beautiful work by Celia Pym.  https://www.hauserwirth.com/make/42103-connect-reveal-conceal/ Lagos, Peckham, Repeat: Pilgrimage to the lakes has a couple of stunning films – Entitled has Adeyemi Michael’s mother riding a horse down Peckham High Street referencing European conquerors and No Archive Can Restore You by Onyeka Igwe contains poignant filming of abandoned, crumbling film canisters in the colonial film unit, a propaganda film organisation of the British Government. Meanwhile onto screens - Big Night was sweet yet had several troubling male role models. Spiderman was energetically exciting. Red, White and Royal Blue was unexpected until it wasn’t. John and the Hole wasn’t what you thought it was!

wallofthinkingwithsometattoos

Continuing to work on the 3D prints – currently they are ‘spawning’ over a wall in my house – transferring their hanging from a table/plinth context to a wall obviously changes them dramatically. I used to give a presentation around this which culminated in Vogels Net. Which was a paper based on Susan Vogel’s work Vogels Net: Traps as Artworks and Artworks as Traps. https://www.slideshare.net/l.bicknell/contex-203695210 The references to the earlier work were basket and vessel now growth, nest/home and fruition come to mind. Many of them are derived from a similar starting point, thus they feel like an exercise in taxonomy. Each one referencing another, looking at them as a whole, connections are made, both within the work but also they give clues as to what to do next. Meanwhile more tattoos have been added. These are a continuation of the ongoing inter generational collaboration, mark-making project I am having with @jims__skins I love the freedom of the thread-like lines alongside the perfect placement – thinking about systems for more that might relate to the 2 ‘elastic band’ ovals I have on my shoulders – created my dropping elastic bands and drawing around their position where they land and then tattooing the shapes. Duchamp has a piece called 3 Standard Stoppages which involving string which when dropped determined the configuration of the work. https://www.moma.org/collection/works/78990 Onto screens – BBC’s Champion was a hard watch, so much anger.  Sisu was a hard watch, but also so funny. Blackface was a hard watch, but so informative. Painkiller was a hard watch but tells an important story. Not as good as Dopesick. Barbie was not a hard watch it was glorious.