WIP 17th through to 27th January 2022

Posted byTina CulverhousePosted inUncategorized

I met with Ian at the studio

First gallery view below is the work I made before the break in December. I returned to the work in January.

This Piece was made using a 2m piece of fencing. I cut strips and used my fingers to bend the pieces which held together on one strip. This is then a free form holding itself together within the form seen.
I recycled an older piece of work that had 18 elements. I put 18 nails into the wall in a grid across the breeze block. I then tied each element into itself and into a circular form and hung onto a nail. The form was then made by the movement of the wire once it was let go.
View from the side of the 18 piece towards the 2m piece

FEEDBACK from ID. Grow it and combine the pieces together. You are looking at it like they are or you are making very separate pieces of work. Does it need to be either/or- work with full extend of the marks you are working with

I made this piece from 9 pieces of twisted wire. I started off with how it came out of the storage box. This had been a piece in my MA show. I hung it initially as it came out Fig A, then I untangled it and lay each piece ritualistically onto the nail.

This piece was shown in the group crib show at Mass HQ. Terry Smith asked me why had I put it on the floor as opposed to the wall? He said that the marks on the floor did look related and I had recycled this work from pieces made for the MA final show. When I looked at the piece again I decided to try it on the wall and in other places.

Returning to the studio after a long break due to covid I had a meeting with Ian. Following our discussions I went back into the work.

Work in the Studio

This is a view of the studio with some of the prepared pieces of fencing. We talked about how when it was touching you and you were in the space about a foot away from the wall it ceased to be a composition and became an experience.

I was unsure about leaving the natural features of the chicken wire, probably a hang up from being told I need to transform the materials enough so that they are not obviously the origin material. There was an aversion to using chicken wire and it being seen on the UH course. But the forms it creates with the curving of the cutting is something I want to retain, and not completely do away with. I was considering covering the obvious chicken wire with something else, or to weave wire into it until it is transformed but retains the curves created.

The notes I made during the mentoring session were

This is a fluid ongoing set of drawings

be more fluid with the things that are happening

Treat it as a “thing”, a drawing listen to it and act upon it.

Make or use small sculpture to hang the work from.

Just keep listening to the work and letting it tell you what it needs not impose upon it what you think as a system or process. Intuit it.

What I have done since this discussion

I set about drawing with the 18 piece and did join the pieces across the grid.

I took the piece from the studio and drew into the piece on the wall in the corner crit space

I took the 9 piece from the wall and after discussion with Alex, decided to hang it from the pipe in the ceiling

Published by Tina Culverhouse

Awarded Fellowship at Digswell Arts Trust (2024-2029) Mass Turps Education (2021-24) Master of Fine Art(Distinction), 2019-2021 UH Creative School, Batchelor of Fine Arts and Art History(Distinction) class of 1991, Middlesex Polytechnic, London