More eco prints on watercolour paper. The deep brown-black of the sumac is the actual leaf. It fused with the paper because I made an extra-tight sandwich of the materials and steamed it for a longer period of time in my dedicated pressure cooker.
I placed a square of heavy-duty plastic food wrapping between each pair of prints in this bundle, as a resist, i.e. to prevent colour seeping through. I’d noticed in a previous batch, that one of these plastic resists had, due to the pressure and heat of the process, become impressed with the image of the leaves/stalks. I decided to try to repeat what had been an accident.
It worked. You can just see this imprinting in the second image. I am calling these impressures. A different kind of reality to the prints, yet still a reality created by pressure and heat.There’s metaphysics in there to be explored at a later date.
The pink around the edges of the plastic squares has resulted from the water in which I steamed the bundle, which contained a mix of madder root and woad dyes.
They reminded me of photographic negatives. Yet another kind of reality – negative reality, like negative space. The transparency also reminded me of some silk organza that I’d dyed with mushrooms and then stiffened. I hunted it out. The plastic squares are sitting on it.
I have an idea of making a strip, like a film strip, using the eco prints, the plastic wrap and the stiffened organza. Attaching each to each with stitch. I’m also reminded of musical composition, musical notation. Graphic notation. Sound as well as vision. I’m interested in graphic notation. I must do more research on the subject. Here’s a performance of the earliest example of a complete graphic score. The composer is experimental composer and graphic notation pioneer Morton Feldman. It’s his Projection 1 (1950) per Violoncello. I just love this music!
So, I have taken a step that moves beyond portrayal of object and what that might sound like.