I wanted to do an acetate transfer of an A3-sized printout of my diptychs onto tracing paper and then pierce holes into the paper. How it works is that you put the printed side of a laser printed/photocopied image onto the surface, then transfer the image by filling in the back of the printed areas using a Chartpak blender marker (not sure if it’s sold in Singapore). However, the marker that I had both ran out of ink (if you can call clear liquid “ink”) and was making the image run.
So what emerged was something that was actually quite interesting and organic, that actually visually resembled decaying paint/algae growing on walls. I could transfer several layers of these images to create a more layered pattern. I took a few different sized needles and pierced the empty areas in an abstract manner, following the contours that the ink had created.
Some issues with my initial ideas for installation emerged. If this was simply lit from the back, the pierced holes would lose it’s texture and the white colour that contrasts with the dark ink. But if it was overlapped with a dark surface, it would lose an ethereal feel.
I also realised that the textures of the “back” of the holes (i.e. the side opposite to the direction that I pierced the holes) was much more interesting texturally because of the ridges that were formed as a result of the paper being pushed aside. It might be an option for the viewer to be allowed to touch it gently.
I think I will also be considering forming some kind of pattern on the windows (if I still end up using them) and then using these pierced sheets on the grilles, which are a distance away from the window pane. My next experiment might be to play with black thread behind the tracing paper.
I don’t think I made all of my ideas clear visually so I’ll continue doing blog posts as I develop my work.