Following a continued investigation in finding form through engagement with packaging templates and resonant materials, this body of work is made using the Blinding method where the edges of a surface is systematically marked and a drawing is intuitively made between those marked edge points.

In this iteration of the Blinding method, aluminium foil is used as a ground to make embossed prints on a length of either a domestic and industrial grade of the wrapping material. Each print is a unique pressing of workshop materials such as commonly available bookbinding thread and elastic bands. The lengths of foil are then formed into a series of encounters with a particular intention to share the experience of their making as a form of collective knowledge.

The choice of aluminium foil as a recyclable, easily available resource is a key dimension in this work. The mark of the emboss in its surface is evidence of lived experience, erasable, changing and dynamically fluid in its possible forms.

The forms are installed in a particular place with reference to the other elements in the space and visitors are invited to move, re-shape, re-orient or wear them, offering an opportunity to share the physicality and process-led making that the objects may carry into the encounter.

The work shown in these images is part of Whetherscapes exhibition at Wimbledon School of Art, London. This series of encounters includes 3 individual but related works:

In the main gallery, scrolls of embossed material rest on the floor, alongside an operational book press, housed ready for a participatory opportunity to make more Blindings working alongside a trained gallery assistant. The sounds of the press in operation and the shift of the materials and foil create a live soundscape of the process in motion and add to the experiential encounter of the work.

A hand-embossed sculptural form that incorporates a soundscape indicates the lived experience of handling foil, a sound that belongs both the material, to the process of making and to those who handle the material. It resonates from within the form and as an encounter within the space of the exhibition with those who pass through.

On a nearby gallery entrance wall, a 9-panel wall drawing made of aluminium sheet is installed, each sheet has passed through the rolling cylinder of an etching press. Each time a new sheet is placed on the underlying plate of embossing elements, the previously placed materials shift slightly or have additional materials added to them so that a precarious composition is made, part intentional, part process-led, to create a form of fluxing deliberate/auto genesis. Fixed points on the outer edges contain and make consistent the binding points across the sheets, evidenced in the presentation of the sheet edges which line up and across the sheet ground where lines undulate across the surfaces between.


Featured image: Soundscape: aluminium foil, steel staples, aluminium tape, speakers, player. Dimensions: 150(h)x50(w)x50(d)

Presswork: aluminium foil, cast iron bookpress, mixed media materials and containers, wool blanket, mdf board, screws, acrylic paint, paper, ballast. Dimensions variable (mounted press: 150(h)x50(w)x50(d))

Scrolls: aluminium foil. Dimensions: 5 parts each 50(w)x500(l)cm

Panelwork: aluminium foil, aluminium tape, magnets, steel screws. Dimensions: 9 parts each 85(h)x60(w)

All images from installation at Whetherscapes exhibition at Wimbledon College of Art, London, Sept 2019.

Installation view of soundscape form, bookpress and scrolls at Whetherscapes exhibition, Wimbledon Collage of Art. (Background installation by Silvia de Giorgi)
Installation view of 9-panel embossing, gallery entrance, Wimbledon College of Art.
Detail view of 9-panel embossing, gallery entrance, Wimbledon College of Art.
Detail view of 9-panel embossing, gallery entrance, Wimbledon College of Art
Installation view, operational bookpress awaiting use, Wimbledon College of Art.
Bookpress material detail view, Wimbledon College of Art.