10.00 am. I’m playing catch up with The Floating Bible series of visual transcriptions. Matt. 19.14 was the focus of this morning’s labour. Having worked on my colleague’s sound sample last week, it struck me that I could adapt the same approach to my own work. Graven Image II (2013) is, currently, the recording of an engraving device inscribing lines from the first part of the Second Commandment on a metal matrix. The sound is modified by an incremental delay only, line by line:
I’ll begin processing the sound through filters in order to discover whether it’s feasible to evolve a live-performance version of the source. This particular endeavour is part of my drive to review and compile material from my sound site for The Aural Bible II: The Bible in Translation CD.
1.40 pm. Into the sound/vision studio to ready it for painterly practice. I cleaned down several mdf boards to serve as supports for stretched paper. The paper is a 40 gms, thin grade ‘Bible paper’, which has been cut from a bible published in the late 1950s. There’s a possibility that this fragile, permeable paper will not withstand the process of shrinking once dampened, or be irremovable from the board once dry, or be discoloured by the surface of the mdf. Any one of these scenarios is possible. But often, practice confutes expectation. So, I remain optimistic:
Mid afternoon, I reactivated some old palettes and put together an inventory of immediate materials and equipment purchases. The ‘great’ palette (glass top in sunken wooden frame, 100 x 80 cm) is inspired by a former tutor, Jack Crabtree, whose own palette was an adapted snooker table. (Palette envy.) But then again, he had an exceedingly large studio:
5.10 pm. Shop closed. 6.15 pm Practice session 2. 7.30 pm. An evening with the family.