The new year sees new non-digital working methods and a Wickes’ long paste table in the living room, scissors and glue, like a bad surgeon’s operating theatre. The first one under the knife was the ballsy ‘dancing princess’. A result of a four hour montage session where the only constraints were one found magazine and one evening. She dreams of a house built on the mountain side and takes no nonsense (more on the significance of ’12 dancing princesses’ to come soon).
The second speedy experiment is a half-man/half-dog who hates being told what to do, and resents thinking about Monday’s work on a Sunday. It’s lovely to work when the picture suggests itself and you don’t know what you’re going to make until you’re making it. The materials, that you’ve never seen before, ‘tell’ you what they want to be (without sounding insane!).
It all seems to make some kind of sense. I’ve recently discovered a forgotten book accompanying a Hayward Gallery exhibition from 2006 ‘You’ll never know: Drawing and random interference’. There’s a great quote about randomness from the dada-ist extraordinaire, Tristan Tzara: “What we want now is ‘spontaneity’ not because it is more beautiful or better than anything else. But because everything that comes from us freely without intervention from speculative ideas represents us”