As a donation for the “float” studio solar panels, I printed by hand a series from the door panels. (still fixed in place.) Considering they weren’t engraved for printing they’re OK.
NOTES ON COMPLETION.
LAKE TYERS BEACH FLOAT ALMANAC has been a long and distinctive project. I have made it localised in every way. Natural inhabitants, birds, fish, trees and plants. Holiday makers, visitors, and permanent residents. Artists , nature lovers and otherwise. The narrative and images have been taken from the viewpoint of the lake.
The physical properties of the piece are in line with the ideals of the participants. It is made of recycled glass panels, within two recycled damaged old window frames using traditional putty. I built a door like frame using rough timber, dark stained and tung oil varnished. This frame allows it to stand, taking the considerable weight, and needs hooks to hold it upright.
Imagery is drill engraved with diamond burrs. Four lines of three panels depict four seasons of three months. Summer depicts visitors, autumn contemplative locals, winter ruins of the past, and spring is about new regrowth. Distinctive memories come from kayaking trips and photos, discussions and hearing of other artists interpretations.
Quietly naive in style, with lots of details, it is intended to evoke romantic memory. The accompanying prose focuses on individual interactions with the lake. As it is finished and I evaluate, I see connections to my present and future works discussing the term “touched.”
Displayed or photographed against black, the detail and character is distinctive and clear. Probably fitting into a modernist style. I prefer to see it against the sand and water where the duality of glass is apparent. Unknown changing, mystical. Leaning towards a post-modern ethos.
LAKE TYERS. Peter Cummings. 2017
I watched in summer as you came loudly to the banks, to the edge and to immerse.
To feel the welcoming cool and clean enveloping your stressed body.
You laughed and played, splashing as the light played through the crystal lens drops.
You roared boats, reeled in fish, and left rotting food and plastic in thanks.
Cooler times of autumn became reflective.
While the water reflected the clouds, walkers reflected on the past and future.
Time became measured in memories and changes.
Quiet times for questions and answers like maybe or what if.
The breeze becomes louder as the silence grows.
Winter is never dead. It is a deep breath. A pause to consider.
Some of the past won’t be coming back, but its skeleton will leave footprints of memory beside the parched bones.
What, where, how, of the past is just as real as in the new. Don’t forget.
The pendulum only pauses briefly before it swings back again.
But spring like the dawn will always rise. We will celebrate rebirth and growth.
We will sing with the birds and dance with the trees in the wind.
Breathe deep and listen with all your body.
We are brother and sister. We are one.
I am the water. I am your soul.
A new project of a years study and almanac making with these specific directions.
- Get proficient at the glass engraving lathe.
- Develop a figurative style suitable for my narrative needs and equipment. First practice.
3 Break from glass engraving traditions in concepts.
a. Leave the vessel.
b. Move on from decorative and commemorative.
4. Experiment develop and practice print making using engraved glass plates.
5. Research Lake Tyers over a year. Photograph, draw, kayak. Seasons and the people/nature interactions.
eg. Summer, Autumn, Winter, Spring.
A window frame of 12 panes, each about 20 x 25 cm, 3 wide and 4 down allowing a row for each season.
Engraved intaglio, with a lathe and diamond wheels.
Eventually a set of prints engraved from the plates.
CONTACTS AND DOCUMENTATION.
Regular contact with the Float group and coffee meetings and kayak outings. At least monthly.
Research TAFE libraries and approach local resources when specific questions arise.
Document regularly, at least monthly, and comprehensively onto a blog, as in an artists journal.
AUTUMN AND WINTER.
I’ve done the bulk of the figures and smoothing out. Next is edges and corners, then all the details of the rest of the pictures. Difficult design work as it has to be seen clearly from a distance, and maybe printed. Each panel is about 50x200mm. Winter and spring to come, and yes it’s difficult to photograph.
I’ve moved back to the drill because I don’t have the skill level to do it properly on a lathe, at this stage. Also moving clear intaglio work after many years of colour flashed and cameo reliefs is proving tricky. Have to say I love it, clear being my first love.
Individually they are quite different. They do have enough in common to come together, and there is a sting common to all, but I’m keeping that to myself.