Material Investigation

After the “pivot” I made at the end of the first term, a deep dive into studio research was required. This research investigation was undertaken with the intent to determine:

1. The materials required for the final piece.

2. The efficacy of my chosen techniques and materials to reach my intended outcome.

3. The meaning of decay through making, and my relationship to it as a creator.

Speaking more technically specific, this research centred around two techniques: weaving and devore, and was anchored in the technical goal of creating a sturdy cloth that…

• can withstand selective deterioration by means of devore

• is aesthetically in line with my taste and concept

To mimic the structure of scientific experiments, I determined my variables & constants to isolate materials and uncover some useful answers. I used the weft threads as my variables, exploring a variety of materials and colours, and controlled the experiments with a constant synthetic warp. My final list of materials explored was as follows:

warp:

• monofilament (60 epi)

• silk steel thread (36 epi)

weft:

• merino wool

• cotton linen paper moire

• linen-steel

• silk-steel

• silk noile

• linen

• mohair

• boucle cotton

Final woven samples, before devore treatment:

Findings & Results

The biggest and most important lesson that I took away from this material investigation was that the warp and weft MUST BOTH include the fibre that is to remain (in my case either monofilament or steel), otherwise the cloth will fall apart along the warp lines. Sadly, this lesson was acquired at the cost of many of my favourite samples. You live, you learn.

Another important finding that came out of my research was that monofilament is very difficult to work with. It instantly formed to any bobbin I wrapped it around, making it curly, easy to knot and very difficult to warp on the loom. While some of the monofilament samples were successful in the end (in that they remained intact once the imagery was clearly burned away), after weaving with the monofilament I made the decision that it was not a practical option for my current project. And although the monofilament sample results are beautiful, they have a digital aesthetic quality about them which further does not align with this project and concept.

The silk-steel thread, on the other hand, produced a cloth with adequate structural integrity that ALSO resembles a more natural fabric when woven. This is due to the inclusion of silk in the warp alongside the synthetic thread (the steel), resulting in double the amount of natural fibre compared to the other samples. With double the silk, the cloth has a greater density, a richer colour, and better contrast between the dense cloth and the sparce mesh wire. I also value the steel over the plastic monofilament as the steel brings a grittier quality, and has potential to rust over time. Overall, the silk-steel sample better connects to and more effectively communicates decay.

Synthesis & Meaning

An interesting difference in looking for meaning through making versus reading is the anchor in materiality. Almost like bringing new expert perspectives into the conversation about decay. Before this material investigation, my conversation focused around the act and purpose of deterioration. Through the making, I have uncovered aspects of the conversation not previous considered. For example, in the making I started to further consider the relationship between the materials I’m using. Silk vs steel. Natural vs synthetic. Temporary vs (semi) permanent. These themes ask different, but no less relevant, questions about decay; About the human relationship to decay, what we leave behind, and our perceived value in permanency.

Another benefit to research through making is the greater connection to emotions and feelings. Throughout this physical investigation I felt an emotional tension. A good tension, but a tension nonetheless. It existed (and continues to exist) in the idea of building and creating with the purpose to deteriorate. The time it took to weave, versus the time it took to destroy was a hard pill to swallow. Painful in a way. Is this the tension that helps feed our fear or aging and death? What is it about creating to destroy that makes me feel uncomfortable? Does the viewer experience it as well or just the maker? What does this tension communicate? What questions does it ask? Things I will ponder as I keep chugging along. I am ready to tackle the Goliath!