Well, April went by fairly free of folding. School holidays and a trip to Yorkshire contributed to the lack of folding however, the month wasn’t entirely without thoughts of folding or to any of the other themes that the pinboard has raised. A leisurely family stroll along the River Wharfe led me to think about the geology of the place … a site of intense geological activity during Variscan times resulting in the Skipton Anticline and the various folds visible in the limestone and shale. For much more detail on this follow this link. A notable fold in the Middle Bowland Shale immediately below the ruins of Bolton Abbey is described as ‘disharmonic’; given my interest in disjunctions during my PhD this triggers particular attention.
Otherwise, things have been slow. The creative block has regained control of strategic positions. But I recognise now that I must not be dismissive of this state, it is more important to afford it attention … attempt to understand how it made this manoeuvre, how it gained space and time. What the manoeuvring consisted of. Maybe it is recognising that ‘creative block’ is a misnomer, or maybe that the ‘block’ is not an obstacle but a piece of material to be worked. Folded and eroded maybe? The block-as-an-obstacle is a construct of the mind, it exists between the individual and the creative process. The mind projects a block-as-an-obstacle a little further off and then the mind conspires to interpret this projection as an actuality … a physical presence which stifles movement, decision, thought. A careful dance must take place wherein the issue isn’t forced but yet neither is the projected obstacle allowed to dictate indefinitely.
What is this ‘block’? It is certainly not always solidly block like (although, as I type this I’m picturing a geometrically neat stone cuboid, pale cream in colour, large in scale (bigger than a car, smaller than a house)), it is often foggy, miasmic, indistinct and all-enveloping. It muffles the senses. Has a faintly metallic odour, dampens and disorientates. Has an anxiety-inducing turbidity, a self-fuelling busyness of its own that overwhelms and distracts. Strange that these images can be so apparently oppositional and yet both have similar end results inducing as they do inertia and indecision. But does the situation have other identities, these are certainly most common but maybe they also suggest a bodily blockage … constipation or a mucosal congestion.
As an aside, the etymology of ‘block’ relates to wood and the trunk of a tree specifically. Perhaps it is a case of trying to see the wood despite the appeal of the trees.
In a bid to return to basics and rediscover my joy of making I have been contemplating the simple form of a paper sheet. Now, a sheet of paper (or similar) alone has huge possibilities and is of course the substrate for much of human culture’s great art. At a more quotidian level, the single sheet can be a hugely democratic medium on which to convey an artistic idea; this can range from the humble postcard (perhaps the purest form of artist’s book?) through to the poster or hoarding. Or, to stretch the definition of a sheet to tearing point, what about the Nazca Lines of Peru: imagery on/in/as a surface at a landscape scale.
Anyway, my survey of the sheet overlooks these simplicities in favour of a move that for me really begins to bring the substrate forward, makes it more sculptural perhaps but also retains the portability of the sheet. It is of course the fold. It was on my BA Fine Art course at Exeter College of Art & Design in the early 1990s that I was first directly introduced to the artistic possibilities of folded paper. A mixed bag of us who had shunned the pathways of painting, sculpture, printmaking or photography) were collected together in a ‘visual research’ (I think that was the name) cluster under the care of the late Steve Berry. I don’t know how much Steve’s suggestions mattered to others but they meant a lot to me and I eagerly lapped up the knowledge imparted by a bookbinder that Steve got in to lead a demonstration and workshop (Rooks Books if I recall correctly). I also followed up Steve’s tip to visit the Cairn Gallery (then in Nailsworth, Gloucestershire) and meet Tom and Laurie Clarke. Tom and Laurie were hugely kind with their time, advice and encouragement and I was deeply impressed by the quiet certainty of what they were (and still are) doing. In turn this got me eventually into the artist’s book fair circuit where I came across other insprational artists, designers and small publishers such as Simon Cutts (workfortheeyetodo at this time now, with his partner Erica Van Horn, coracle), Colin Sackett (Uniformbooks), Ti Parks and many others.
Enough of the trip down memory lane. The here and now and just yesterday and tomorrow is that I still love the simple act of folding and what it can do structurally, conceptually, and visually to a sheet (of paper). This awakening during my degree may have seen a seed sown on ground already fertile with a pre-existing (and ongoing) love of maps and books (in their more widely published traditional format). The idea of an Ordnance Survey map as a sheet already conveying landscape expansiveness in hand-held form (through the power of scale) to then be folded down to (just about) pocket size is still, to me, a beautiful conceit. Yes, I know, Google maps on a smartphone now takes this nesting of scales and interactivity in yet further directions but it takes a certain kind of knowledge to go down that route and play with it creatively … I’ve dabbled there but I missed the physicality of the (paper) sheet.
So what I have spent a bit of time doing is starting to play with basic folded structures ably abetted by the word ‘fold’ (and avriations such as ‘enfolded’) to see what different folds do to how a folded sheet structure is encountered and how these folds might sit with text content.
I still very much enjoy the physical process of folding even if I have lost some of my previous precision. The click of bone folder against steel rule, the muffled scoring of the bone folder moving across and into the paper’s surface, the lifting of the paper and then the pressing and creasing to sharpen up the fold. All the while making sure that the paper’s grain is worked with (unless I’m being very lazy or trying to use up scrap paper to test out an initial idea).
[Of course, I also went to the etymology of the word’ fold’ hoping to descry some deep and vital meaning. Instead I find, appropriately, a painfully ancient word that has carried its own self-same meaning with it since the dawn of knowledge (well before I got up anyway) and sees the word bending back over itself across the world.]
Romancing the #BritishLandscape: exertion as a methodology for re-binding with the ‘out-there’ Running with Intensity: machinic exerting in the #BritishLandscape Being in the flows: running Romantically in the #BritishLandscape -being-in-the-flows-|-running-Romantically-with/in-the-#BritishLangscape- -being-of-the-flows-|-running-Romantically-the-#BritishLangscape- -and-being-of-the-flows-[fold here]-running-Romantically-a-#BritishLangscape- -and-being-of-the-#langscape-[fold here]exploring the malleability of landscape, language and the creative act
-becoming-#langscape-[fold here]intra-rupting landscape, language and the creative act
Romancing the #BritishLandscape: exertion as a methodology for re-binding with the ‘out-there’ Running with Intensity: machinic exerting in the #BritishLandscape Being in the flows: running Romantically in the #BritishLandscape -being-in-the-flows-|-running-Romantically-with/in-the-#BritishLangscape- -being-of-the-flows-|-running-Romantically-the-#BritishLangscape-