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It was my intention to read Bo’s post, then leave it a couple of days before responding, but he’s got me all fired up now. Six months ago this would have been a fast paced conversation in a coffee shop, or an argument in a messy room in Margaret St.

I would be prattling rubbish and too many conflicting un-thought-through ideas. Then Bo would say “hmm… but…” and I’d be shot down in flames… then I’d go away and think about it, and come up with something better.

This process, by necessity, has been slowed down by distance and medium.

But I still want to answer this quickly. For me, it’s the blurting it out quickly that gets my mind racing. I want to answer quickly this time, because I think I’m actually getting somewhere… the synapses are firing like mad tonight! Insomnia beckons!

Ok, Bo – you are breaking down an image of my work, in various ways, looking at it with a different eye(pad), then putting it together in a new way: Deconstruction/reconstruction surely?

These pixels have no fixed and stable meaning because we keep altering them, true. We keep translating them into different medium, making more changes, looking in closer… a shifting truth?

WHAT IS LESS?

I think perhaps we need a change in the vocabulary. Instead of the word “less” let’s try the word “pure”

PURE: “without any extraneous or unnecessary elements”

One of my favourite phrases/watchwords… “avoid tautology”. If I could sum up my 2 yrs doing the MA in two words, it would be those two. So for me, the search for the pixel/stitch (Higgs Boson?) is the ultimate avoidance of tautology.

As we are in the mood for definitions, I looked in the thesaurus for stitch. Other words are suggested, but I reject them. (Arrogant? That makes two of us then, we’re in good company!)

Baste: no, basting is a long loose tacking stitch, not all stitching is basting

Fasten, Join: no, both of those can be done in many ways, not just with needle and thread

Sew: verb, not noun

Suture: the closest, but for medical use only.

So I reckon there’s only one word for stitch too. That’s pleasing isn’t it?

What I need then, is some sort of methodology to lead me through the work. I think, at the moment, I will magnify, plunge deeper in, keep making, purifying, getting rid of tautology.

When Bo unravels a piece of work, because of the digital nature of the unravelling, he is able to use it. From the real and total disembroidery there is too much disintegration for it to be useful (at the moment anyway). So I must start afresh. The way I reconstruct from what has gone before is to hijack Bo’s processes for my own ends.

The moment Bo sends me a piece of work and I see something new in it, it’s mine, no offence meant to him either… I see strings, layers, peeling back, additions, subtractions, textures, pattern, shape.

The disembroideries are a cul-de-sac. They go nowhere for me now. Other than they have provided a starting point. They were needed, but having chopped them up and passed them on, they have no further relevance, they were the topsoil. I’m far more excited by what comes out of the next layer of Bo’s processes, and will carry on stripping back from there.

(Is this homeopathic embroidery? A vague memory of stitches gone before? Is it purer now?)

One of Bo’s images – I think he used it on his personal blog – is a single pixel on a grid. I could make a single stitch in the middle of a piece of fabric and we could both put our hands up and shout “Sir, I’ve finished!”

But where’s the fun in that?

I think I might have a plan too… a small glimmer at least.

But there’ll be more questions. You can count on it.


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Having read through Elena’s latest post it occurs to me that perhaps I’m not deconstructing at all… I’m just altering…

Deconstruct; 1. To subject to deconstruction.

2. To break (an idea or situation) down into its component parts.

Deconstruction; A method of critical analysis applied esp to literary texts, which, questioning the ability of language to represent reality adequately, asserts that no text can have a fixed and stable meaning, and that readers must eradicate all philosophical or other assumptions when approaching a text.

… change text for image…

… no fixed or stable meaning…!

Ok!

So how do I do that then?…

Meaning; 1. To have in mind as significant.

2. To intend, to purpose.

3. To destine, to design.

4. To signify.

No intention? No design? No purpose?… maybe I’m not just altering? Maybe the iPad and apps are the perfect tools?

“To break down into its component parts”? Pixel? Stitch? Pixellated?

Fixed; 1. Settled.

2. Fast, lasting, permanent.

3. Not varying or subject to alteration.

Am I aiming for something less than the original image? Elena asks this question. I want to know; what is less?

Taking the above definitions, this is not what I’m aiming for. I have no need to see Elena’s original image. The images (disembroidered or not) are original to me. Fragmented can’t be the way that I view them, as I have no prior knowledge of what they were. They are pixels… starting point’s… images… colours… drawings… irrelevant in my process (no offence Elena), yet critical to it. The moment I first alter them, they become mine…

Is this glib? It’s not meant that way… I am processing… writing on my computer… reading on my 1st iPad and researching on the 2nd… thoughts wash over me as I try and gather the relevant threads…

My work must be different to Elena’s… not copies… not re-makes… as she suggests… I too must return to that notion of the single pixel…

Must I?

Why?

That would make the work similar… come on, come on… think this through…

My work is about process and selection…

I like the image that when you look in a thesaurus there are no other words for pixel… it does what it says it does on the tin..! That’s kind of what I would like my work to be about… obvious, yet…

…unique springs to mind… but that’s not it… that’s arrogant…

Singular… individual… bespoke?

This is all sounding very pompous. I’m not terming this the way it needs to be read to be clear…

Am I aiming for something less than the original image?

An image is an image right? It can only become less than if it is compared next to it’s original or something similar… that’s not going to happen, so I need to deal with the image that is produced… as an individual image in its own right. I am aiming for something more than the original image… not to demean it… to progress and develop it… to give it new personality… a new set of clothes… to give it its own life…

Which brings it back to those building blocks… The deconstruction is the unraveling of the fabric… taking the elements down to their individual forms and then reassembling them in a new manner… the same blocks arranged differently…

… Now I have a plan… Questions answered?


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Ok…

I’m tying myself in knots thinking about this…

I have a list of questions I’m working through to try to make sense of it.

Deconstruction/reconstruction – when you deconstruct something do you necessarily make it less?

Is it degenerated?

So am I aiming for something less than the original image?

Or am I looking at it closely to find some truth in it?

Am I really able to reconstruct something original from that degeneration?

Will it inherently always be less than the thing I started with?

But I didn’t like what I started with.

I like what we have both done with it more than the original piece.

I said that when you get in close you can’t see it anymore… does that by definition mean that it is less?

“Less is more”?

Is the fact I can no longer see the original work actually what I am aiming for?

I can’t see the piece I hated, that’s good.

I can see my stitches that I like, that’s good.

Bo asked how far he could push his process and still see my work. Actually, before I sent him the images, I had done enough deconstruction to mean he could not see what it originally looked like…

Bo, did I ever send a photo of the (in)complete work before I chopped it up?

Do you want to see it?

Should I show it here?

I also wrote about a “spiralling down”, but maybe I’d feel better if I said spiralling up?

I think about layers and depth here. Am I just working at one level, just responding to what is sent and not really getting anywhere?

Bo is right about addiction… but I’m not feeding his, I’m validating my own by implicating him. The temptation is to look at the dozens of images he sends to me, and make a response to each one. Just translating it into fabric and stitch… lazy…

I have enough stimuli to make a thousand embroideries, a million quilts… each one another “fix”?

But are they merely fabric illustrations of Bo’s work?

I have to ensure my brain is engaged, must not get drunk on the images swimming around my brain.

Back to the single stitch, the single pixel. Take it to that, examine, rebuild afresh.

Disembroider/re-embroider? I have spent half a day totally dismantling, or “auditing” one of the little pieces. I ended up with a pile of assorted fluff and knots, three pieces that were reusable, in total about 12 inches of thread, and a canvas that was warped and for the most part, unusable. It was a soul destroying process, not in the least creative. Of course not. But the fact I was left with nothing that I could practically reconstruct from it meant I probably won’t be doing it again. Even though I knew it had to be done once, just to find out. So I will do some more play, and see where it gets me. The canvas embroideries are complex and tangled, even though built upon the even weave pixel-grid canvas. Maybe I should unearth some ancient discarded cross stitch and undo the squares of that instead?

I will go back to the perfect little pixel, the perfect stitch, the building block. Magnifying, translating, re-imaging.

I think about the venn diagram.

I don’t know that it’s a good analogy anymore, as I suspect Bo and I might both be working in the bit in the middle.

As my friend said previously….

Questions… Questions…


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Whist Elena has been taking chunks out of my pieces, I have selected to sample just one of her disembroidered pieces over the course of this past week. I’m not really sure what I’m looking for in the work yet which gives me a great opportunity to experiment… and progress some of the methodologies I previously discussed.

How far away from Elena’s work can I take her work and still leave it recognizable? Is it possible to change the textures yet leave it feeling still part of the work?

I tend to start work late at night. I’m an insomniac and I enjoy the silence of the night, generally working from 10 till around 2 in the morning. I can produce a couple of hundred varied mages within that time frame so the work really starts coming down to a selection process… and yet, as I write, I know its not that simple.

I select processes. That’s the first point. I select the image I steal. The apps I run it through. The pixels I alter. The colours I vary. The stitches and drawing that I introduce. I select the final images that I show only after due consideration where I have weighed up the merits and disadvantages of each individual piece… but even within that process there is another sub-process. The majority of the images I create – or the iPad creates – are never even saved; they are fleeting; only ever seen by me and rejected for a whole variety of different reasons.

What are these? – not the reasons for rejection, but the rejected sketches? What would the results represent if I only saved those that I would normally reject?

Questions… questions.

For me the images that I choose represent my taste or work that gives me ideas to progress further into painting, 3D or print making, fabrics etc. they are sketches produced by machine that stimulates and inspires the new in me… they are the flint in the lighter that sparks the next piece of work, and from reading what Elena has written, they are obviously having a similar effect on her.

It’s a highly addictive process… I’m not sure its wise to admit that… randomizing imagery… that curiosity of what else might be generated that makes you hit the button again… and again.

I haven’t started a painting yet… yet I have more images than I could paint in a lifetime… another selection process will have to take place at some future stage… another ay of presenting may need to be found…

Worryingly, Elena has already sent me 10 or so disembroidered samples! Is she feeding my addiction whilst having a quiet chuckle at my quandary? Does she realize the dilemma she creates? Is that a part of the work to?


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I took a chunk out of one of Bo’s pieces, and patchworked the pixels. His piece of work was made from a photo of one of my disembroidery pieces.

I have taken the basic building blocks, and by rendering them in pattern, allowed for the possibility of yet another magnification, another layer of pixellation… the implication being we could spiral down forever. I quite like the idea that by a process of magnification, you lose sight of what you are doing, what you can see. Things don’t become clearer at all: the work of art being greater than the sum of its parts.

There is a Terry Pratchett book in which the Universal Auditors dismantle the works of art in order to see how they work. (A reliable source tells me it’s Thief of Time). They weigh the pigments, ordered in little piles upon the floor, and they don’t understand.*

I have so far nibbled at the edges of the little chunks of embroidery, still keeping in my head that they are attractive, and should remain so. I think it is time to get brutal. I shall “Audit” a couple of them and see how it goes. Are they greater than the sum of their parts? Can I dismantle them, and reassemble them using the same bits?

* When I was doing the MA I used to quote Bachelard and Deleuze… now it’s Pratchett. I find when working with young people one has to keep abreast of popular culture.


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