I am exploring the idea of adding the triptich to my interim show. I am worried I will not have enough time to finish as I am still at the experimantation phase. But I am also feeling quite excited about this and I might show work in progress just to see how it works in the space. Currently testing thread “painting” by placing the thread in the shapes I want onto epoxy glue. I really like how the head/hair are turning out, this is exactly the “entangled brain/life/mind” I was going for with th e Mother part of the triptich. However I also tried writing with epoxy and thread and that sort of looks good but is extremely tedious and the size of the letters is very difficult to control. I don’t think this will work if I want the writing to fit into the spaces. I am now thinking of using black outliner for stained glass designs as with it I am hoping to have the control I would have with a marker but also I would get the 3d texture close to yarn or thread. I have used it in the past in high school when I was making stained glass jewellery out of thin plexiglass so I know this material quite well. Only need to go 30 years back in time. Also thinking about my grandmother and the way she used threads to fix and mend things or to express herself artistically, threads were her way of existing in the world and communicating. I want to use threads to communicate but ina way slightly different from her. I like the threads hair head resembling the tangledness of Chicharu Shiota’s black threads and beds room, there’s both chaos and sadness and something beautiful in it as well, the fragility. But in the words there is strength, like in Betty Thompkins Women Words Painting
I am also thinking about the work of Xin Liu from Public Gallery I saw at Frieze London using threads and beeswax and Do Ho SUh’s work from Tate Modern as well as my own line drawings and how there is something of a harmanious chaos in them, contained with the wax or other mediums(which I still hope to find)
