Week Fifteen | In Gold we Trust
I have spent much of my time in the creation and ruination processes of my work and it occurred to me that repair or rebirth might be the final phase in the process. These ideas run in parallel with concerns of climate disruption with creation and ruination emerging clearly and repair remaining something of a question mark. I immediately thought about Kintugi, which is a traditional Japanese practice of repairing broken pottery with gold creating something even more beautiful than the original whole. It might be a bit gimmicky but I have had gold on my mind since long before the MA and I spent much time looking into gold and christian iconography. Those experiments didn’t go all that well but I bought some liquid gold leaf months ago and I wonder if there might be a new line of enquiry here.
I have finally finished my first complete Trace Narrative in concertina sketchbook form - see below.
I photographed the sketchbook in this way as it was the only surface long enough to show the whole book but I really like how the marks of trees and the landscape relate to the trees and my garden. This gives me some confidence that a site specific drawing has potential. I really like how the video below shows how the viewer might become immersed in the traces. I love the idea that the scale could be so big as to allow people inside and provide some enclosed areas of privacy, as experience of and discussion around grief is so intensely personal and intimate. The idea of an environmental scaled drawing disrupts the senses and gives the viewer the feeling it is bigger, like grief, towering and consuming but also offering moments of joy, connection and humour even.
I have begun some experiments in gold and below are some early thoughts inspired by Kintsugi. I am aware that I may be jumping ahead but the ideas are there and so are the materials so I had a go. Gold speaks to reverence and value, which strongly support the idea of a post-ruination rebirth, a memorialisation or celebration. These ideas feel a bit shallow at the moment but hopefully the process will teach me. The ruination part of the process felt strongly concept lead rather than process lead so maybe this is the way it will go.
I am mindful of my previous experiments from just before I started this MA around gold and ruination. Below are some images of my experiments from Spring 2023 that felt of interest on a small scale but I did not develop them further and I now see a need or opportunity to do so. The three last images were gold on paper, which I attempted to bury but the experiment didn’t work and the results felt contrived. The others were on small canvases and wooden boards with layers of textiles and paper which were then either painted or stained with gold paint or gold leaf in liquid form. The stain worked better.
Reflections
I feel drawn to gold and I would like to pursue the idea further
I would like to research more thoroughly my attraction to gold and why specifically I feel gold is relevant, other than having briefly looked at Christian iconography and Japanese Kintsugi.
I have bought liquid gold leaf in gold, renaissance gold, silver and copper and I will investigate further how these may be of use and relevant.