7.21.2010

in the studio

This is a series of new tangle sculpture stacks. I am making four the same size. One is a commission piece and three more will expand the series. Though my objective with this work is to capture tangles, most of the labor that goes into sanding and polishing the edges. As a result, the sculpture transmits light nicely and it sort of disappears when seen from the side. Many hours go into this, but it is well worth the trouble. That clean detail makes me want to eat the thing.
Nine hours or so later, Side A is complete.
Onto Side B.

and then C and D.

A German friend of mine, Kisa, mentioned that they have a term for this kind of crazy task that must be done "du bist des Wahnsinns fette Beute" which google translates as "You are the fat booty of insanity".
With that as my mantra, I can't help but giggle as I sand.

7.19.2010

"When it rains, sheep become self-cleaning."

Over the last year one of my major ongoing studio tasks been washing loads of raw wool one after the other in my bathtub. I've been scouring them which means soaking the wool in hot water and detergent for a time, pulling them out while the water is still hot, draining them and the tub and repeating til the water is clear and then giving a couple rinse soaks at the end for good measure. It's work that uses a lot of hot water and detergent, means the bathtub is constantly full of wool in various states of dirty and, most importantly, any other work I'm doing is constantly interrupted to tend to it.

Recently I stumbled across about the Fermented Suint Method which seemed like a promising method to make the process more efficient. The Fermented Suint method was developed in New Zealand and involves soaking dirty raw wool in rainwater for several days. This works because of the self cleaning properties of wool. Judith MacKenzie McCuin explains:

"In addition to the coating of lanolin that happens during the passage through the tube of the [hair] follicle, wool is coated with a substance called suint.

Secreted from a gland similar to a sweat gland, suint is applied just before the fiber exits the skin. Suint is liquid at room temperature and hardens as it moves up the shaft of the fiber, away from the sheep's body heat. Like soaps and detergents, which are made from either sodium or potassium salts, the chemical composition of suint is primarily potassium salts, making suint a natural detergent. Unlike lanolin, suint is water soluble. Like all other soaps and detergents, suint naturally attracts dirt and surrounds it, moving the dirt up the wool shaft by osmosis towards the tips of the fleece. When it rains, sheep become self-cleaning. The rain activates the soapy qualities of the suint in the tips of the fleece and washes away much of the dirt. " ("On Washing Wool" Spin-off magazine, Fall 2008)

She goes on to mention that pioneers would run the sheep through rivers or creeks before shearing to wash the wool.

This is the first batch of fleece, which has been sitting in water for five days and is ready to come out. Future fleeces only need two days in the same bath of water.

That film on the top means it's healthy.
That stink means it's happy.
That cover means my neighbors won't hate me.

I have six buckets going right now and am using tapwater instead of traditional rainwater, if these fleeces were more expensive/delicate I'd probably try rainwater.
Once rinsed and clean, the wool no longer smells sour. This process leaves some lanolin which I may decide to remove with my usual scouring method, but it will be much faster needing only one or two washes and rinses rather than several.

The vegetable matter is another issue altogether which will require lots of picking and combing in the future.

At the moment I'm expanding my drying racks to keep pace with the cleaning.

5.10.2010

sky fluff


We found this little guy in our garden yesterday and decided to take it for a fly. It trembled mightily as we tethered it carefully with silk thread and burst forth from our opened hands. After following the fluff for a time and then coaxing it to better currents, we bid farewell as it floated above the townhouse walls around us.

i think it's a thistle seed.

3.14.2010

In the studio today

Here you can see the tangle sculpture remake fully underway. Layer by layer I've been disassembling, throughly cleaning, and reassembling a new stack. I'll admit it's not my favorite project to work on, but hopefully I'll be pleased with the results.

2.24.2010

finished spindle

This spindle is the elegant drawing tool I'd longed for: well balanced, easy functionally, beautiful when still and even more so when in use. The most elusive part, finding a mechanism for holding the lead securely and letting it go for sharpening, had a serendipitous solution after collecting a pile of various pencil parts, a couple days stare time, and a kitemaker. The rest of the tool was calibrated carefully for just the right line quality and wiggle. Handspinners tend to maintain a variety of spindles to spin various yarn weights. In the same way, my drawing tool can be adapted through variations in the whorl weight, balance and size; possibilities abound in adopting a more complex line vocabulary. For now, there is so much to say with just this.

2.19.2010

future weaving

On the right: 656 yards plus of oatmeal-colored Blue Faced Leicester spindle spun.

This method of winding a ball I spotted in a book, and the image wouldn't go away until I tried it myself. It's far, far too time consuming; the large ball took over three hours to wind, but still . . . it's lovely to behold. . . and quite dense.

There's always more bits to share, but they seem to be ganging up on me lately.

2.16.2010

sighting

An errant tangle revealed itself recently in another's studio, fortunately we were able to capture it in its natural environment before it scuttled off to some dark corner.

12.29.2009

new art in my home

Recently I acquired two new pieces of art. One of them is a work by Ruth Whiting I'd been admiring for a long while and my sweetheart purchased it as a surprise for our anniversary in November. It took a bit of wrangling as I was all set to purchase it myself and was hard to shake off. This a quick snapshot in the process of framing it. The birch frame turned out to be a bit too light in color to satisfy me, so I'm on the hunt for a more suitable one. Ruth will be having a Gainesville show in March which I'm sure I'll mention again closer to the opening.
The other piece was made by my brother, Colin Curry, as a Christmas gift to me. It's indicative of some of the work he's done before but unusal in its limited color palate: white black and the color of the birch panel peaking through the paint.

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