Working in 3 D – Stage 3

The Tree That Never Grew

  • Completely cover the clay mould with tinfoil.

  • Cut some rice paper into strips.
  • Mix a solution of half water – half PVA glue.
  • Dip the rice paper onto the form – I use cotton buds to press into small grooves and corners.
  • smooth the rice paper with fingers so that it all melds together
  • When the mould is covered with one layer of rice paper allow to dry overnight – no more plastic or wet cloths.
  • We will be repeating that SEVEN time – What else have you got to do?

Working in 3D – Stage 4

The Tree That Never Grew

  • After applying five layers of the rice paper, the process gets to be a bit tedious. I started taking the paper up the tree but it was not long before I decided that was too fiddley and turned to the white acrylic paint instead.

 

  • To take a break before the last layers of rice paper, I started making the little icons that I wanted to insert into the sculpture using self-hardening clay.

The bird that never flew, The fish that never swam and the bell that never rang.

  • And then I decided to make a boat. Why a boat? The boat is the symbol of ‘the journey’ that often appears in my artwork. I also needed something to balance the piece. I was pleased with my little boat when I made it but when I covered it with the rice paper, it turned out rather clunky.  I think I need to think it out again.

My next job will be to decide how to put some colour into the piece. I feel colour would add more interest but I don’t want to destroy the unity of the different elements of the sculpture. However, I can experiment, knowing that if I don’t like the result, a coat of white acrylic paint can take me back to try again.

Hopefully, the next blog will show the finished piece … have fun.

Working in 3D – Stage 5

The Journey

  •    Since adding the little boat, the name of the piece has become The Journey. I will call it finished for now but I know from past experience I need to live with a piece for a while and if anything needs changing, it will jump out at me. 

  •    I firstly rubbed some ochre into it (from the self-hardening clay) but I decided that was too splotchy so I put some yellow ochre mixed with white on top
  •    I have lifted the piece off the base to let the air get in to dry the clay mould. When it becomes dry and crumbly, I will dig it out and discard and should be left with a very light but very strong little sculpture.

Genesis of a Novel #1

No Use Crying Now

Ten years ago, I discovered a friend, almost collapsing with distress. A secret she’d kept hidden all her life had turned up, literally, knocking on her door. A secret she had kept for over 40 years from family and friends.

Memories of her 16-year-old self now invaded her, forcing her to relive all the guilt and shame heaped upon her all those years ago when she ‘fell’ pregnant out of wedlock. She became ‘a fallen woman’. No sooner had I come to terms with that revelation when another very similar drama unfolded involving another friend. However, this time the woman went looking for and found her son.

And then a strange thing happened. A small drama, I had completely forgotten for nearly 40 years, rose from my subconscious. I lay in King Edward Hospital awaiting the birth of my second son. My first son had taken ages to arrive, so I’d come down from the hills armed with Colleen McCullough’s book, The Thorn Birds. Much like a soap-opera, it kept my mind occupied. Time passed quickly. Towards evening, I heard weeping through the open french doors of my ward. It was mid-December and warm. In my gown and slippers, I waddled along the second-floor-verandah and in through another set of french doors. A young girl lay weeping loudly. I sat on the edge of her bed, assuming she was frightened of what lay ahead, comforting her with well-meant lies, not stopping to ask myself why she was so alone.

A nurse swept in from the corridor and shooed me out like an annoying fly. As I fled back through the french doors, it shocked me to hear the harshness in her voice. ‘No use crying now, girlie. You got yourself into this mess.’

I reached my room, and with that, my waters broke. The birth of my son, born shortly after, pushed everything else out of my mind and I didn’t give that poor girl another thought. It was not until after my friend revealed her secret that I remembered and wondered if the young stranger had been in the same situation.

And I asked myself, what about the other parties, the ones who did the impregnating? Were they made to feel shame and guilt, labelled fallen and wanton? No, in those days there would have been a cover-up and even a sneaking admiration for the ‘sowing of wild oats.’

Curious to know how many girls this happened to, I went looking in the Battye Library and was surprised by what I found.

.

Poetry #1 Again

AGAIN

Her net flies

sunlit corona submerging

'neath sunlit surface

cerulean brine beckons

below fish feed

glassy bubbles rise

in celebration

again.

Her net drops

a watery waltz

sinking, searching

fickle currents

snag on rock

strands stretch, fray, snap

again.
Tenacious sea tugs

clutches rope, net

entangled birds, slime, weeds snag

trapped fish freed

netted dreams dashed

again.
Pulling on oars

beckoning shores

waves carry

safe on sabulous shore

shadowy boat shelters

warm sand embrace

mending the net

again.