Creative Process and Collaboration

My own work was now burgeoning and after much exploration, contemplation, research and development I began a period of collaboration.

Using the idea of time, perception, absence or death, what is hidden and what is revealed, inspiration (contemporary mysticism) : I worked with Sue Debney in the paper and print studio and created small pieces of crow paper. I used meaningful materials: the power of attorney – which is a dark legal document in my possession from nursing mum with cancer . I reduced it to tiny pieces, pulped it and trimmed a crow feather to include the fine hairs of the plumage in the pulp. I laid thread from mums sewing box on and then pulled them off so you can subtley trace the absence.

Crow Paper close-up

The Crow is related to death, the battlefield, war goddess, magic and transition as I have researched in previous work. It also holds personal symbolism as during my childhood, mum found an injured crow and nursed it back to health with considerable tenderness, to release it back into the wild. This tenderness was later returned when me and my brothers nursed her at the end of life. Following the thread of perception, mystical union with otherness, I imagined the crow’s experience of its own feather and instead of the golden ratio, I developed the Crow-ness Ratio:

With this key measurement I used pulp painting , which is painting with pulped paper so the action rather than the material is painting. When I was at the Whitworth I overheard a discussion about curation, labelling and the nature of painting. What is painting? Colours on a surface. Can an arrangement of objects be a painting? This ,we discussed in the symposium.

Again here I was considering the question:

Is it a painting if no paint is used?

How often do we look with a crow’s eye view?

How often do we perceive as part of Nature rather than separate in our otherness?

I discussed the Crow-ness of it all with my brother Ben Holden at Fleetfoot Studios.

I asked him to collaborate with me as the theme and experience is shared. Death in it’s own right is mystical; stepping into the unknown for those who depart and those who are left with the absence. We made a short film again using what Ben termed my ‘Shamanic Maths’ to find how a crow would experience a feather falling during it’s lifespan compared to ours. It also reads like a Zen Riddle:

The perception of time is relative.

Meanwhile I had had a dream about a large abstract painting I was doing in a hall. It was placed in different ways on the walls. the whole theme was Interconnectedness. This resonated with the work I had been developing and the sketches I’d made from Blake’s Ancient of Days. I felt this was a way of contemporising the mystical as the painting was abstract yet the inspiration came through a dream. I decided to try and create this using a smaller canvas as a squeegee (print-making tool) on 4 canvases linked together.

I asked my other brother Jake Holden who is a digital artist to collaborate and virtually place the finished work on a billboard where he is based in Tokyo. The idea of billboard art and advertising appealed as it is subverting the medium used for consumerism and capitalism and re-appropriating it as a kind of mystical or celestial advert for Interconnectedness.

I then visited Rome, searching for a good billboard in a classical location and asked Jake to repeat the image..

There is power in repetition.. the repetition of images or sounds or experiences.

There is power in contrast: Advertising & Mysticism, Light and Dark, Classical & Modern Consumer.