I have been very busy in lockdown. I studied some new weaving techniques that are faster and use less beads but still grow into biomorphic hyperbolic forms. I did a little IG video on the studies a few weeks ago at @thereforeijam. It's developing into a body of work that will encompass outdoor and indoor installations inspired by the growth patterns of moss and lichen.
I am motivated to develop the outdoor site-specific installation/mosaic/mural pieces because it will open up new options and artistic growth. This means I have to tweak my materials--especially my adhesives--to be weather proof. I'm testing whether the acrylic reflective beads will fade or melt on a little test rock out in the front yard. I'd love to retain the reflective beads but if they can't survive harsh summer conditions, then I need to stick with all glass. I'd love to use the reflective beads as it calls attention to something that's often overlooked and they look really cool at night. Also switching from natural fiber thread to synthetic.
While the outdoor materials test is underway, I'm working on an installation in a bare corner of the basement. "Outgrowth #1" grows out of the corner where the floor and walls meet. I'm using the number e with extra digits weighted to the floor to help me get a natural distribution. The areas higher up the wall that don't have moss pieces will have beaded representations of lichen colonizing the wall. I don't know if I will use a formula to arrange the lichen shapes. When I say "moss" and "lichen" these are obviously scaled-up impressions of those life forms.
This body of work will be easy and cheap to transport and install. Clear silicon is a quick, semi-permanent adhesive for the exterior and some interior installs. It peeled off cleanly from my test rock after curing without a lot of effort. Gorilla tape/tabs for interior installs work great. The components are reusable.
Many artists I admire have done corner installations. Dan Flavin, Lynda Benglis, and Olafur Eliasson use them a lot. Out of the images below I identify most with the implied dimensions in Smithson's piece and the organic quality of Benglis'. I adore Dan Flavin's work although my work has emotional content whereas I understand that he insisted his work did not.
Lynda Benglis' use of acrylic foam instead of molten metal surprised me especially as the piece was addressing Carl Andre's work. That choice of material serves to further distinguish the one artist's vision from the other's.
In a month or so, I should be ready to do the installation and take photos. Very excited.
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Julie Mars' current events, projects, & inspirations.