a Top: Liza Lou, Wall Terra, 2018
Bottom: Studio Olafur Eliasson's Moss Wall from 1994.
I hope you are doing all right coping with the pandemic. I am excellent aside from anxiety regarding the danger to the health of loved ones. I have a new appreciation for Clorox wipes.
I have plenty to do.
I am developing a new major project but it's complicated and I have to teach myself how to weave the look and shape I want for the different components. I anticipate a lot of minor study pieces coming about in the next few weeks.
The Liza Lou works pictured in this post and Olafur Eliasson's lush moss wall are inspirations. Lou's weavings are hyperbolic and she's weaving with different sized beads. I'd love to try out the algorithm that she and her team used to get this texture and form. But I don't have it & can't script kiddie Liza Lou bead blobs. I have to build my own little beasties.
The 12" or so hyperbolic beadweaving that I've been growing here and there over the past two years is pictured above. That sphere is nothing but woven beads and thread. It's called "The Rose" and it's an homage to Jay DeFeo's chunky monolith by the same name at the Whitney Museum. (Here is a link an heirloom shot of Liza Lou posing with with DeFeo's Rose.)
The Eliasson work is completely organic and must feel and smell magnificent, especially when it is still a little fresh and green like the wall pictured above. Love him. He's a wizard.
So while keeping an eye on the health and welfare of my family, I'm tinkering around. So far, I have hit on a good algorithm for making a flatter form that reminds me of lichen. But I want this, which might be a stochastic, random-size-bead, round peyote hyperbolic weave:
Julie Mars' current events, projects, & inspirations.