I'm in the finishing stages of my project. The canvas has been stretched and the frame built (many thanks to Rick for his carpentry skills). Quilting stitches are running vertically to form the folds and "waves" and to attach it to the canvas.

This is on a much smaller scale, the black fabric measuring around 11" x 18." I added batting and allowed it to extend beyond the image. The graphite plays well against the black ground, and I am considering mounting my large panel the same way. Reflecting back on the crit and some of the comments, I think I will keep the panel flat so the movement of the graphite is more easily "read." Waving the panel is probably redundant since there is already a visual flow. I could use some feedback as to whether I should mount the panel on a black fabric ground.

Times series

"When the flush of a new-born sun fell on Eden’s green and gold,
Our father Adam sat under the tree and scratched with a stick in the mould;
And the first rude sketch that the world had seen was joy to his mighty heart,
Til the Devil whispered behind the leaves, “It’s pretty. But is it Art?”
--Rudyard Kipling

After viewing the panel with the cording and drawing completed, I decided it needed further development. Certain areas were selected to quilt using grey thread. This adds another layer of texture that compliments the vertical flow of the cords.

It is so revealing when you view your work in a different format. I can see areas that need more resolution where I thought it would be enhance by being less resolved. I could spent weeks on exploring this, but am confined to a set timeframe. That's ok. "Screw the outcome; enjoy the journey." My new mantra.

These 2 panels are 4 feet long each. I'm wondering how much the cording will shrinks its overall size.

left half of panel

I spent all last week in Surry working on these panels. The top one has been rusted and ready to draw on. I've begun cording on the bottom one. They look so different on a computer screen!

I purchased 1/2 yard each of 100% cotton and two different types of linens to experiment on. My plan was to explore various textile-altering methods and see how they reacted on the fabrics. This would provide another dimension, color, and texture for the surface ground.

Several techniques were tried using the acrylic paint: Wet on wet, wet on dry, dripping, splattering, and spraying with water. The acrylic actually flattened out the appearance of the ground and did nothing for the graphite. Tea staining was ok, but I couldn't seem to achieve the gradations of color that I was looking for. The rusting process was more involved and required a 24 hour processing time, but it was worth the wait. I loved the result; its richness and depth was exciting. In addition, I felt I had more control over where the coloring would appear across a 3 1/2 length of fabric.

Working on linen lent itself to an interesting aged look, and in the future I will consider it for other projects. But for this particular one, I've decided to go with the 100% cotton. Through the process of playing with the paints, teas, etc., a different concept began to emerge. I'm going to have to completely rewrite my artist statement...

graphite on acrylic, tea stain, and rust

tea stain and rust process

acrylic surface design

It's about...

It's about time.

Here is the information I need from each of you to be included in the press kit:

Your name was you would like it printed

Where you are from and/or where you currently reside

A couple of sentences of your choice that you would like to include, ie. bio info or a comment on a significant part of your life or work.

Please email me this by February 17.

lauriebrooksart@gmail.com

A Much Improved Artist Statement

This project combines my love of working with fibers and textiles with my inherent need to draw. The concept revolves around the idea that the Universe is multi-dimensional. Because of personal experiences, I have come to believe that events are not random and there are different planes that exist beyond the physical realm.

Integrating graphite and fiber, I am exploring line in both two-dimensional and three-dimensional form. Lights and darks are used to create a sense of movement and flow across the surface of the fabric ground. Value change also gives the illusion of depth, which refers to another dimension or plane. Finally, the cording provides an actual three-dimensional aspect to the piece. Negative space typically places an important roll in my drawings. In this case, it represents the unknown of all existence of which we are a part.

Except for a quick trip to WTVL to buy more pencils, I spent all day Friday working. By the end of the day I was so frustrated with not getting the depth and intensity of line I wanted that I ripped the whole stabilizer off the back of it. Now it looks very wrinkled, but at least I'm not trying to draw on a thin layer of padding. My other problem is one that has been ongoing for me: I can't seem to keep my ground free from smudges. I've experimented with Spray 'n Wash and some bleach, and it appears I will be able to get a good part of it up.

This panel is 18 wide x 52 long. The plan is to make two of these panels and have them curve in opposite directions to give it a wave effect. Still clueless as to how I am going to accomplish that. The stabilizer will go back on to give it structure, but I don't know how to maintain a curve that will allow it to be hung on the wall. Open to any suggestions!

Revised Artist Statement for Senior Project

Through personal experiences, I have dome to know that the Universe is multi-dimensional; the plane of existence is not limited to the physical realm. When I am conscious of and open to these intangible forces of energy, I am able to live a life free from fear and anxiety. The circumstances of my physical existence are not random, but unfold according to the Universe's purpose for me.

In integrating graphite and fiber, I am exploring line in both two-dimensional and three-dimensional form to illustrate the threads that connect me to a source. Chiaroscuro creates the illusion of depth and movement across the spacial plane of the fabric. As with my previous bodies of work, negative space plays an important role. In this case, it is the Unknown in which all exists. The organic shapes of the ground is indicative of the fluidity of life, how it is continuous, and how it is interwoven with the other dimensions of the Universe.

Cording is finished. Time to mount on fabric stablizer.

ready to roll with it.

After adhering the fabric to the stablizer, I found that the graphite pulled up the "glue dots" which created a different texture than what I had anticipated. Once I accepted it, it was easier to move on.

Cording is finished. Time to mount on fabric stablizer.

Senior project experiment: graphite on fabric with hand stitched cording

Bottle Jazz 2009

The point of departure in my drawings is the circle. Its shape embodies a sense of safety and wholeness, providing me with a central source from which I can extend and explore the possibilities of the page. This body of work involves the integration of PrismaColor and graphite. I become engaged in an intimate and exclusive conversation with the surface of the page. Much like the Magic Eye stereograms of the 90’s, when my eyes become transfixed on the pick and grab of the paper fibers, another dimension begins to emerge. The nuances of form and the illusion of depth pull me into the paper and allow the fibers to guide and direct my hand. An organic richness emerges. Tubes, tissues, and vessels weave in and out, disappearing and reappearing.