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May 1, 2009 in art, design concepts, jewellery/metalwork, making, my work, Personal | Tags: art, Australian art, body horror, burns, bushfires, canberra bushfires, confrontation, craft, crochet, danyka, Danyka van Buuren, design, embroidery, konfrontation, pyrography, scrimshaw, self-identity, subversive craft, textiles | Leave a comment
Both material and process are an integral part of this project. I am continuing my exploration into materials, simultaneously confronting my fears surrounding them.
My first experiments with pigskin involved removing the pieces from the feet (which were bought from the supermarket, and later boiled to obtain bone material) which were covered with a mixture of sodium bicarbonate and table salt. They were left in the sun to dry out and preserve. Unfortunately, the skin was crudely sliced, and ended up being thick, lumpy and mostly unusable.
My second attempt at skin preparation involved carefully slicing the material (this time from a back-rib cut of pork) and scraping the fat and ligament tissue using a large kitchen knife. This work-intense process breaks down the fat cells in skin, compressing the layers into a much finer, semi-translucent skin. It also meant that I extracted a vast amount of pure pig fat, which is visible as a creamy white substance in the photos below. I am coping a little better when dealing with animal materials now, and was able to sleep after doing this one…
My hands are visibly softer today, too. I think there is something kind of poetic about this process.
I mounted this new piece onto some wood, stretching it out using pins to keep it from contracting and rolling up. It is now drying, and should be ready for working in a few days.
Meanwhile, I’ve been considering the techniques which I might use with these materials. Scrimshaw is the very old technique of hand engraving into bone or ivory and filling the engraved surface with India ink to create drawings. Traditionally, the imagery depicts maps, animals, typography, portraits and nautical scenes (it was a popular past-time among whalers). I like the poetic metaphor of scarring the surface of the material, making stories into histories. I found a few helpful tutorials: Female scrimshander Viveca demonstrates her technique on mammoth ivory, using oil paint as a fill; Mark A DeCou’s tutorial uses powder horn and printer’s ink; while Michael Sheppard’s site gives an insight into the history of scrimshaw and contemporary applications of the technique.
I am also fascinated by the idea of marking the skin, either via a crude form of tattooing, or perhaps pyrography. Belgian artist Wim Delvoye tattooed live pigs, which lived as artworks, and were taxidermically preserved post-mortem. Pyrographers traditionally use leather or wood as a drawing surface, upon which marks are burned using a hot metal tip (like a soldering iron). Sue Walters works with some less usual materials like paper and vegetable ivory (tagua nut) and makes remarkably high-fidelity work. I’d also like to try this technique on bone, too.
I have also begun to consider and experiment with other techniques; superfine crochet based on Irish crochet; various types of hand-worked embroidery (cross stitch, needlepoint, whitework, etc.) More on technique in the next few posts, I think.
Without overanalysing, I think I am drawn to these intricate, repetitive and time-consuming techniques as a way of transforming and connecting (or is it re-connecting?) with the materials. And those who know me well know also of my compulsive hand-work as an anti-anxiety activity…
Louise Bufardeci is an Australian artist based in Melbourne who works primarily in textile pieces, subverting traditional techniques in order to explore political, ethical and social tensions. My personal favourite is the series Starter Pistols, which uses bargello, a traditional Florentine needlepoint technique, to map sound waves of gunshots from various weapons from around the world.