I’m continuing with my close-up look at some of the recent work I created for Voices From Another Room at Hot Art Wet City.
I wanted to explore different forms with the three dimensional paper cut vessels, and I had this idea of creating a sculpture of stacked cubes. Some of the previous vessels are pieced together from multiple pieces of paper, while others are created from a single sheet. In the case of these cubes, these were each cut from a single sheet of 8.5″ x 11″ black cardstock.
I found a template on creating square boxes and used this as my guide to the structure of the box, but hand drew each one in the end. The designs were created freeform and hand cut using an xacto knife. I made six of these in all with the idea they would cluster together on a plith. Each cube is 2.5″ x 2.5″ square.
While in Toronto I’ve been venturing out to galleries every day this week, despite whatever terrible thing the weather throws our way. On Tuesday I wandered the hallways of 401 Richmond while a storm raged away outside, and yesterday I visited The Power Plant and Harbourfront Center. All are favourite places from my previous life in Toronto, so it was pleasing to see how they’ve evolved over the last ten years.
The highlight of yesterday was coming across multiple paper sculptures in Studious, a show in the Harbourfront Gallery featuring a variety of craft-based work.
Black Cloud is a massive installation of black paper and rubber or wire tubing (I’m not sure which) created by Amanda McCavour. It is magnificent, huge, and extremely inspiring to my paper-loving self. The photos don’t really do it justice, but I had to share it.
Across the gallery are three paper works by Lizz Aston. They are hand cut work, and made from dyed kozo paper. It’s hard to tell from the photos but these pieces are large and float a couple inches away from the wall. Again I found this work the exact thing that stimulates ideas in my own brain. It’s the kind of scale I hope to finally achieve in my own work this year.
For the past two days Boris and I have working away on my installation at the Gladstone Hotel for the exhibition, If Walls Could Talk. We had three days for install but we managed to get it done in two. It was a tonne of work, and at the beginning I truly had my doubts this piece would come together, but the completed installation looks even better than I’d hoped.
I made sure to document the process from the beginning, starting with Boris up a ladder weaving metal cable back and forth through the existing hooks in the twelve foot ceiling. The cable is the basic infrastructure from which all the wing clusters hang.
The clusters are made up of eight wings cut from card stock in various sizes and shapes. I was using the bottom of the ladder as a staging an assembling area to string the wire, and then cut and fit the wings together one cluster at a time.
Boris did all of the ladder work on my behalf, which I am extremely grateful for because I am afraid of heights and this was a twelve foot ceiling.
Once we get a rhythm going, I was assembling six to eight wing clusters at a time so we could hang a bunch in one go. It was a good way to work because it filled the space faster, and helped me figure out how much more we needed to complete the work.
I cut just over six hundred individual wings to use in the installation, and did not end up needing to include them all. I think the final tally of wings included in the piece is somewhere between four and five hundred. I wanted to make sure I had more than enough to work with because I wouldn’t be able to cut more once I arrived in Toronto. The wings were created using a Silhouette Cameo digital cutter, rather than done by hand. I am not that crazy.
Once the installation was completed we tweaked the lighting. The shadows projected on the wall behind it are pretty dramatic and incredible. It adds a beautiful sense of movement to the piece.
Here is a short video of Flight Path / Taking Flight. I think this may win as the largest piece of artwork I have made to date.