The easing of lockdown offered an opportunity to meet, collaborate in the making of Stop/Start, and move forward with ideas for a new body of work.
Having made visual outcomes in response to the adaptation of living and working at home throughout lockdown, it was interesting to discuss new working methodologies which this has enabled. We reflected around the action of re-acting to imposed rules and restrictions and the opportunities this had afforded around doing things differently. New approaches to making have become established and outcomes produced individually have been shared, cut up, edited, adjusted and re-interpreted collaboratively. As the government published their roadmap out of lockdown at the beginning of March, we had the opportunity to trial this new methodology within the production of a collaborative response to the annual world book night event organised by Sarah Bodman at UWE, Bristol. First research around the 2021 given theme had led to the phrase companion planting which offered an opportunity to work collaboratively within the interpretation of a new subject matter. We produced an individual response and posted this to each other to add to so that a pair of companion plants were depicted. It is this subject matter and approach to collaborative making which we have determined to employ for our next project.
Prior to meeting, we had begun conversations exploring the theme of gardening as a starting point for a new body of work. This has led to sharing stories of favourite plants and most used implements, and in preparation for meeting we began garden inventories and gathered plants to exchange. Meeting enabled these first ideas to be discussed in detail, research to be undertaken together and next steps to be agreed. A series of possibilities emerged and whilst we are interested producing multiple interpretations in response to this theme we determined to begin by making a book in response to collaborative planting. As conversations continued face to face we made further decisions around the scale, structure and book schedule to align to our next pre-planned meeting in five weeks’ time.
The annual world book night event organised by Sarah Bodman at UWE, Bristol, was an opportunity to return to starting points, and techniques employed within our 2020 response and employ new working methodology established whilst working from home throughout lockdown. In response to the stop/start project we determined to submit a collaborative response to the given theme of The Herbarium. Initial research around the WBN2021 theme led to the discovery of the phrase companion planting
Companion planting in gardening and agriculture is the planting of different crops in proximity for any of a number of different reasons, including pest control, pollination, providing habitat for beneficial insects, maximizing use of space, and to otherwise increase crop productivity. Wikipedia
This seemed to offer the opportunity to make responses collaboratively and further reading offered a suggested list of plants and vegetables to select from. Using our established FaceTime to talk around this project, and with a limited format of 8 x 8cm, we determined to maintain the use of the C6 envelope as the substrate, however the artwork would be placed on the envelope front rather than the inside. By each selecting a preferred plant/vegetable combination T: lavender/leeks, P: sunflower/chives – the first task was to produce a visual response to the others vegetable choice; as this was seen as a secondary element, designs were kept intentionally simple and enabled several options to be completed and subsequently posted. On receipt of these envelopes, we added our relevant flower element employing embellishment to the vegetable design. A subsequent FaceTime conversation afforded time to discuss final presentation and submission details to enable each individual submission to connect to the other. Final responses, and email submission details, were sent separately (at the same time and on the same day) echoing our shared response to WBN2020 and becoming a fourth response to P White, his typewriter, the correction papers, and making in collaboration.
Well worn: Initial thoughts and ideas were centered around repeatedly wearing the same clothing on the days I did not go to work, however without any specific data, I decided to focus instead on footwear – and the repeated wearing of slippers; lockdown has led to a set weekly routine, so I was able to determine footwear usage over a seven day period to generate data with which to work. After an initial failed collagraph print, I chose to take a more abstract approach. Having identified that slippers were worn for 65% of the week, I used a similar method to week 3, and worked out what area of the envelope equated to 65%, this offered a format and size with which to work. The given area was divided into sections to represent twelve hours of seven days. I produced a range of printed surfaces to represent each specific item of footwear, these were used to collage the sections; a stitched outline was added, and the holes in the toe of each slipper were also stitched in position.
Repeating Semi-Circles: First thoughts led to consideration around what I wear to stay warm at home! Representing these multiple layers in some way seemed interesting and I trialled making rubbings of each garment on top of each other. Whilst offering a solution, the shapes were not clear and I began to explore layers of dress making markings or pattern paper to more clearly visualise what I wear. I listed clothes worn, their colour, neckline, and material highlighting items which have become garments of choice for work video calls. The idea of abstract blocks of colours started to emerge and I investigated this further noting repeating semi-circles within the work of Sonia Delaunay and Terry Frost which offered possible solutions for visualising necklines. In response to consistently wearing a long sleeved thermal vest each day, I determined to represent this neckline only within the final response and made a template of the shape. I imagined the order in which I wear each colour and repeatedly painted over the template using dry paint to suggest a softness of cloth.
Applying colour: Restrictions during lockdown #2 meant fewer opportunities to venture from the house and subsequently negated the wearing of make-up. Whilst considering this as a theme, I started to record the range of lipsticks I currently use and ordered them into the length of lipstick remaining – from longest to shortest and noted each name and colour. I started to collate other data, such as the number of days I went into work during the 28 days of lockdown (eight), which equated to 28.5% of days that I wore lipstick during the second lockdown. Using this as a starting point I worked out what area of the envelope was 28.5% and influenced by T’s methodology of producing two variations of each idea, block printed one envelope with a pink rectangle based on the size and proportions of 28.5%, whilst to the second I applied a printed pink background, and cut the rectangle from a portion of tissue paper that I use to blot my lips after application. The next stage was to work with type hierarchy by setting the names of each of the five lipsticks from large to small depending on their length, type was added using cellulose thinners to transfer the image from paper to envelope. To suggest the idea of restriction – a large woodblock letter X was printed onto both envelopes in red; and finally, to highlight the limited use of lipstick, 28 white X’s were cut out to represent each day of lockdown, and using actual lipstick, eight were coloured in. These were applied to envelope one – which at this point was the favoured piece, however the scale of the X’s meant that the type was almost completely obliterated. Therefore, the same process was applied to white stickers instead, these were adhered to the second envelope where this scale offered a more appropriate balance of elements.
Basic, botched and blundering: Thinking about the experience of cutting my fringe when hairdressers closed, I began to reflect around the differences between professional hair stylists and amateurs! First exploration into dictionary definitions and synonyms led to words such as skill, accomplishment and detail in contrast with simple, basic, botched and blundering. In response to these two styles I began to investigate the work of others and trialled linear mark making which I could make use of. Alongside this I read articles offering advice for the amateur when cutting their fringe and reflected upon where, how, and when hair is cut in a salon and the less organised, more frequent approach I had taken to cutting my fringe. Differences between the two very much resonated and I began to explore visual responses which might document my experiences of both. Working with the given decoration inside the envelope, I began by adding additional pattern to represent the hair salon and removed the pattern to represent my more simple basic approach. I began to trace the scissors I had used – employing an unorganised arrangement to reflect a lack of skill and the random act of cutting my fringe. Continuing with this approach random groups of black dashes were added to accompany triangles of linear mark making produced by shading between the blades of the scissors. Finally occasional red dashes were added to signify a wrong cut!
Broad to High: Adapting to the closure of non-essential shops highlighted one positive aspect to shopping – parking availability in relation to my local High Street, a theme that offered an opportunity to explore a single shopping trip. I began by listing and gathering data associated with the visit which included mapping my route, using Google maps to ascertain the number of minutes taken to reach each shop, listing the shops visited and purchases made. I looked at Paula Scher’s approach to using maps within her practice, and was also drawn to the work of https://dereklerner.com/asvirus-120 whose maps reminded me of architectural blueprints and appeared to offer a suitable colour palette with which to work. Using blue carbon-paper I cross-hatched (not particularly successfully) the three main shopping streets of the town, then added cut paper and stickers to highlight the relevant shops and proximity of the parking space. In addition, radial lines were block printed to indicate the timings from the car to each area and a black dotted line, influenced by symbols used within OS maps, represented the walked route. The working methodology was the same as week one, in as much as the piece evolved directly on the envelope, although some testing was undertaken in relation to composition and carbon paper technique. Other elements such as numerals to indicate the places where I shopped and a key were added gradually to enable the piece to evolve.
Five individual purchases: In consideration around new ways of shopping, I began by listing each purchase I have made online exploring how these differ from shopping in store. I noted the number of working days each item takes to arrive, cost of delivery, online exclusives, and the individuality of these experiences as items are looked at one at a time. Ideas around celebrating this individuality began to emerge and I re-looked at each of the times I have made an online purchase of an individual item including where this was shipped from, delivered to, and the time this took. Employing this data, I divided the distance each item travelled by the number of days it took to be delivered and used this number as the diameter of a circle positioned according to the geographic location of each delivery address. The number of individual purchases delivered to each address is identified on a central label, and each circle painted using the colour of the item purchased. With a further nod to the digital shopping experience, delivery lines are drawn by tracing the edge of my laptop and the miles travelled are celebrated by orange labels.
Gatherings: Following the selection of our first stop rule, I began by recording the number of times we had visited our local pub to meet friends since the easing of rules in July until the second lockdown; I recalled nine occasions – 4 taking place outside and 5 inside. I also listed the number of people involved – a total of eight – and the number of times each specific person had been in attendance. Another feature of the gatherings was the booking system and desire to book our favourite table next to the fire – table no.8. All this information seemed to offer a reasonable range of numeric data with which to work. Drawing from techniques and ideas employed during the home-working project, I worked with shapes cut from card to relief print the figure 8 – the lower portion of the numeral was divided proportionally into eight sections to represent both an individual person and the total number of times we met – (this tested my maths skills as I couldn’t find a protractor!), to enhance the idea – the initials of each person were included. A drinking glass was inked and a repeat impression made on top of the 8 – four blue circles (for outside), and five red circles (for inside) denote the two different locations; this element was not particularly successful, the circles were too close in scale to the numeral and the piece lacked cohesion and depth, therefore some sections were typed in an attempt to address this, however lack of exploration meant this part of the piece remained unresolved. Finally, text was added as another way of trying to draw the individual components together. Unlike the previous project, the concept was not tested first, instead work was undertaken directly onto the opened envelope, therefore any mistakes have had to be embraced.
White Wine and Greedy Goose: First research around the closing of hospitality led to memories of my last pub gathering with friends. I remembered seating positions, drinks enjoyed, and conversations exchanged and began to think about how to visualise these. Exploring the work of others, I noted the erasing and blanking out of objects in work produced by Angus Fairhurst alongside half-remembered memories of things past within work produced by Emma Kay. Both resonated, and I referenced these techniques as I started to draw diagrams from my memories around when we each arrived, our positions around one table, the number of drinks we drank, the glasses we drank from, and the conversations that connected us. With a nod to the history of this meeting, I made use of a cutting from an old newspaper that offered some links to subjects discussed. Words with meaning remain as half-heard conversations and dotted lines connecting the traced shapes of glasses represent conversations which are beginning to fade.
The completion of 168, a first response to the adaptation of living and working at home during lockdown 1, correlated with the introduction of a second national lockdown with new rules and restrictions which offer opportunities to produce a second iteration of homeworking. Interested in continuing to develop working methodology established during the first lockdown, we have begun to consider ideas around producing a visual response to lockdown 2.
Whilst the message for lockdown 2 is stay home and reduce day to day contact with other people, schools, colleges and universities remain open and our lives as teachers are different. Making use of these new rules, and the correction papers belonging to the charity shop typewriter as our starting points we have begun to gather research and potential starting points for a new body of work. First ideas were shared at a pre-arranged FaceTime meeting where ideas around the practice of teachers to correct homework, collaborate on shared outcomes, and employ rules/actions to affect change resonated with both of us and we determined to explore each of these ideas further so that the size, format, process, starting point, and project aim can be confirmed.
Size: To be confirmed… Whilst the scale of working during the first response to homeworking was meaningful, it did present the most challenges during the project. With new rules to navigate, and education remaining open, homeworking is different for us during lockdown 2. This could affect alternative scales of working for this second response.
Format: To be confirmed… In response to making use of materials either in our home, or delivered to our homes during the first project we are interested in continuing to work with found surfaces. This may also include the used and unused correction papers as a material surface, or to inform content or composition. First discussions around producing single sheet books have taken place which may also enable working initially at a larger scale which is then folded to the size of the correction paper.
Our aim is this will become A second iteration of a Visual Study of Homeworking 2020.
MEETING 2: Our established weekly FaceTime meeting was an opportunity to resolve more details of the lockdown #2 project; initial discussions were formed around T’s blog post and subsequent research: Format update: To echo 168, we determined to delay making a decision about the final format until completion of the project. We will produce work by utilising the inside pattern of (new) envelopes found within the home. Size to be determined by the choice of envelope. Process update: We will complete a series of tasks in response to phrases taken from two separate lists. The starting point of each list is the heading Stop and Start. Once work is complete the envelope will be resealed and sent to each for ‘correction’. A formula, informed by both the position of specific words found on three of the correction papers – better, developments, replace and the list of synonyms, will be used to correct the work. As part of the process we will use all of our allocated correction papers.
Homework task: We will each draw up a series of items to add to each of the list headings; each item will relate to an action that has either been halted or started as a result of the second lockdown; the list will be sent back and forth via email until we establish a substantial number of items. The final list will be selected by drawing from a hat.
MEETING 3: Following on from first discussions last week and in response to our homework task, we employed our FaceTime meeting this week to determine a framework of activities in order to begin making visual responses to lockdown 2. A list of 5 initial stop/start rules have been confirmed which may be added to as regulations change.
Format update: Whilst the final format of the project will be determined at a later stage, we agreed that each visual response will be made on the inside of a C5 envelope, that will be posted – with a typewritten address – to each other to add a ‘correction’. In this way the final outcome will be a collaborative response and include references to actions both stopped and started within lockdown 2 and new tier restrictions.
Process update: Start/Stop A list of 5 stop/start rules have been identified and one of these will be selected to respond to each week. The envelope will be resealed and sent for new imagery to be added in contrast to the first response. Using words and phrases from the original correction papers – all stop rules will be made ‘better’ by embellishment or adornment, whilst start rules will be ‘adversely effected’ by blocking out, concealing, veiling or screening . This new imagery will be added as a ‘correction’ and positioned by referring to the location of the connecting word on the correction paper. As part of the process we will use all of our allocated correction papers.
Stop/Start 1:Close Hospitality – Having selected this ‘stop’ rule, a first visual outcome will be produced on the inside of a C5 envelope in response to our experiences of hospitality being closed within lockdown 2. A photograph will be uploaded to the blog and then the envelope re-sealed and posted to each other at the beginning of next week so that a ‘start’ correction can be added.
Following the making day, and subsequent division of unfinished tasks, we were able to work independently in our respective locations to complete our individual, allocated elements.
Whilst T produced a definitive table for the front covers and typed a range of stickers, I was able to make the envelopes that would contain the book – these were produced using the inside patterns from a range of envelopes collected by us both during a specific two week period. The arrival of T’s work enabled the final details of production to be completed.
Each unique front cover reflects the particular letters within that we responded to, and the layout of each imitates the socially distanced typewriter keyboard, bringing us full-circle.
Meeting no.1 – Our routine FaceTime meeting was an opportunity to reflect on the project and responses made; the project had begun with no preconceived ideas about the end output, and we maintained this sense of detachment and the unknown throughout the five month duration of our collaboration, choosing instead to produce work that was a response to a moment in time, rather than to a defined solution (a logic that aligns effectively with the pandemic itself, as we continue to encounter change and uncertainty). As we considered our final outputs, a radical idea was proposed — to divide and cut up each of the 40 original artworks into equal parts in order to produce a limited edition artists’ book. Whilst the idea seemed an extreme way forward, we were able rationalise the decision by putting in place a series of safeguards, namely to re-photograph each piece under more professional conditions, in addition to colour copying each item.
Meeting no.2 – More details were debated: each artwork will be divided into 4 sections; two editions i.e 20 books will be formed from the 160 pieces; book 1 and book 2 will both be formed of 10 images each; each page of the book will be composed of a section from T and a section from P – thus forming a new artwork – the size of which reflects the original correction paper; the page order will be defined by the order in which the pieces were produced; the narrative will be formed by a simple sentence that describes each letter of the response. With these guidelines in place we determined to work separately to compose short sentences for each of our individual responses, before coming together to share the information and to find a common writing style that will form the narrative.
Meeting no.3 – Organisation of the visual and written content of the book was confirmed with combined phrases agreed and additional design ideas discussed. These included first thoughts around book structures, the use of remaining original correction papers and thoughts around including an image of the typewriter keys in some way. First ideas will be trialled and shared next week.
Meeting no.4 – Following the trialling of ideas, the meeting enabled decisions regarding book structure, caption placement and utilisation of correction papers for titling. A discussion around how to package the book took place and the idea of an envelope will be debated further as we determined to save all envelopes received through the post during the next week; further testing of ideas will also be undertaken. Finally in preparation of the forthcoming making day, we drew up a list of tasks to be completed both prior to meeting and during the day itself.
Meeting no.5 – Having determined to construct 10 books which each contain 8 quarters of the total number of visual responses produced, the FaceTime meeting this week enabled further pre-making actions to be agreed and the confirmation of which images would be included in each of the books. Returning to notions of chance, pre-prepared numbered papers representing each quarter of every response were sequentially drawn from a hat. The order was recorded and any repeating quarters from the same outcome were moved to the subsequent book.
Meeting no. 6 – This week’s FaceTime meeting enabled an update on individual activities being carried out in advance of the pre-arranged making day next week. Typing tests have been undertaken by T, the initial blurb text has been shared for editing, and the title (168) has been agreed. Through discussion we were able to finalise the book layout, although both envelope and front cover will be debated further when we meet. Finally, the timetable for the making day was updated to ensure efficient use of time.
meeting in the middle 