The second part of the Dreaded Technical Triptych is an interpretation of a portion of a Picasso painting – ostensibly of the “Half-length Female Nude”. This title usually refers to the 1906 piece in a naturalistic style, whereas the given photo seems to be of a cubist abstract. Whatever. I think I have stretched the meaning of ‘interpretation’ a little far in this case. Other versions of this which they showed us at SWTafe were far more literal in the sense of being much closer approximations to the original. However:
Compare this to the original:
This was a far more joyous piece to do than the Miro – I suppose because I was wondering more about specifically tapestry techniques to suggest the original textures. I was trying to create a unified piece from an extract and I indulged in a fair bit of extemporising. Played about too with pick and pick, and tried varying slopes and curves. Though I enjoyed doing this, I fear this is not what was intended by THEM.
Joan Miro had a thing about owls – and asterisks. SWTafe has a thing about torture. Put them both together and you get “The Dreaded Technical Interpretation Triptych” – the first part of which is to ‘interpret’ the following section of a Miro print given at a size of 18 x 9 cm (the whole triptych fits onto an A4 sheet):
I began this one at “summer camp” – we were directed not to go back in an attempt to undo or correct if we looked back and found even the most egregious of errors, or we would not be able to finish the whole triptych in the time allotted. I thundered right ahead at full speed – and therein lay my downfall:
I was so absorbed in getting down to the actual weaving that I didn’t realise my drawing was way out and that I had a rather expanded (or squashed) owl till day three of work back home… and yes, not enough time to start again and correct the lay of the blue and yellow lines, [bad words deleted here]. The warp is 9 at about 11 epi. A finer warp (or a larger width and height) would have given a much ‘smoother’ interpretation of the base image. The real question here was how to handle the yellow and blue fine lines. The double strands that I used overemphasise them from the original – but perhaps that is what such a translation/interpretation must do – or maybe single strands would have been better – and why attempt to stick to the original colour anyway? There is some inconsistency in the way I have handled the lines – some are soumak, some are an attempt at flying shuttle and some are embroidered over the base weave. Not one of my better pieces.
So now on to part 2 and Picasso.
Local Art Society new term has started, and maybe some of these quickies could form the basis of ideas for later print making assignments:
When we get a male model (as we frequently do) there will be an opportunity to objectify maleness too…
P.S. I’ve only just noticed – they all face to the right. Hmm. Maybe I must move my easel to the other side…