Limbo, 2025
acrylic, ink & pencil on paper 
The Guardian, 2018
charcoal & ink on primed paper 655 x 650mm framed 
Cold Discovery, 2024
ink, pastel, oil & charcoal on primed Saunders Waterford 300gsm 76 x 56 cm unframed |
|
Japan Blue Three Ways, 2025
Forever Blue, 2024 |
|
Shimmer, 2024 |
|
INFO FROM WEBINAR ATTENDANCE and discussion
Craft and Design week 2026 BC+DW BOUND https://www.creativeballarat.com.au/craft-design-week-2026 Bound Collaboration. Main themes highlighted. textile, memory, resource, materiality (light being made material?), and connection. Selected on uniqueness, quality, and user experience plus the potential ongoing nature of the project. List of other elements they are interested in which I wrote from listening to Webinar.
Assessment: concept and technical excellence make up 50 percent. Words pertaining to us and our potential collaboration. Place and content: Central Vic, Dja Dja Wurrung, greybox, preservation, texture, erosion, water, dust, geography, moon path, trees, land forms/geography, birds. Moon path to Ballarat - unesco creative city - crafts & folk art. Box tree, bark, movement, moonlight. Words pertaining to materials and practice.
Words pertaining to outcome form.
Can be potential functional manufacturable product OR ephemeral. Perhaps is both. Shows awareness of environmental considerations. Combines environment and science with broader ephemeral, poetic aspects of light. User experience. Through light and experience of being in the space prompted by story to mine personal memory? Our theme. bound by moonlight CUCOLORIS Conceptual and storytelling thoughts. I see the movement of light from where I lie to where Jayne lies when the moon is full - the arch it takes and the shadows it makes. drawing, paper collage, light, weaving, diorama ceiling to floor light trunks ceiling to floor light forms that cast shadows ceiling to floor banner drawing with two sides is it a light and a screen mining exchange - take advantage of height box tree bark texture, experience here and deep observation maps, neon, moon paths, memory, screens, silhouettes, looking through, walking around, looking at, casting light, casting shadows, reflections limbo image with the black/grey wash and ghostly white could make a good subtle treed image and on the reverse side could be a bare landscape with mountainous horizon and moon with hole for light. we can also use drawing projected, or parts of drawings ripped and included in weaving. |
Moonstruck by Kev Carmody.
When the western sky’s ablaze And the sun lays down to rest When the curlew starts to cry And the birds fly home to roost When the full moon begins to rise Satin moon beams on my face Beauty of the night goes far beyond Far beyond both time and place Chorus No-one’s lost who finds the moon Or the sweetness of the wattle’s bloom Rebirth with the rain in spring Or the dingo’s howl on the autumn wind Spirit of the moon here calls me home Spirit of the moon here guides me home Moon it draws me to the scrub Night voices raised in song Past the water lilies bloom In that tranquil billabong Walkin’ on the shadowed leaves That are reflected by the moon To the rocks and hills an’ caves Where the dingo’s pups are born Stars ablazin’ across the sky In the brilliance of the Milky Way I’m surrounded by the beauty Of every night and every day Walkin’ towards that morning moon set Caress of moonlight on my skin Knowin’ that freedom of not carin’ Of why I’m goin’ or where I’ve been https://en.wikipedia.org/wiki/Cucoloris Jayne: Really loving the idea of me weaving a cucoloris which when combined with a light source “the moon” interacts and creates another layer to your work. Wondering if we could produce a conceptual installation artwork, and a functional lamp shade/s following the same concept. Just watching the shadows from the wattles play on the stone walls the gentle movement brings such peace, as opposed to hard slow moving or static shadows of a man made building for instance. Tiff: Yes absolutely. I feel it’s a conceptual light or diorama setting which is also a functional model for a light. I completely felt like it had that potential to be both. Had this idea about it which also includes a reverse side on the drawing. Moon as guiding light without being literal - the use of light and shadow, following the moon light or shadow. Night shadows. When I was very small one night the family were walking in the bush and suddenly I would not budge to walk any further. My grandmother always told me about this as I did not remember being perhaps only 2yrs. The moon was out so they said look at the moon and she taught me to say ‘I see the moon, the moon sees me, god bless the moon, god bless me’; then I was happy and walked in wonder. I don’t think you have to be religious to love the spiritual and grounding sense of that saying. Recently I was on a rooftop in Naples. The moon was big and bright over the bay with Mount Vesuvius in the background. That famous sight. Wherever we are in the world the moon can be in our view and we can be cast with its light and shadow. So if we ever wonder where we belong or who we are, or should be, the same moon and stars can guide us home. When growing up in the suburbs I would sometimes follow the moon past streets and along the bay but it was never until I lived in central Victoria that I knew where the moon would be depending on its phase of light and shadow. Other references. making a woven stiff form by using a baloon and glue https://www.instagram.com/reel/DOHB9p9jrZ0/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== A light-screen-ceiling of lit panels with imagery https://www.instagram.com/p/DP2gpkLjxrw/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== Kathy textile artist map work https://www.instagram.com/p/DENyIW4zfbk/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== Dianne Fogwell Louise Bourgeouis Danielle Brustman light - floor to celing Tiff uses Creative Cables for lighting components designing at home (have high ceilings to try things out) - see here - www.creative-cables.com.au/content/28-our-catalogue |
|
25-30 December 2025.
Made notes about the use of multiple 76x56cm Saunders Waterford 300gsm papers for uniformity, transportability, assemblage flexibility, scalable components. It is the paper I find works best with my drawings. Thought about our love of the scroll created by long papers and am trialling my paper of choice from a roll as an option and think it will be quite stiff and unwieldy, rather than an attractive drape. Wondered about lighter more ephemeral papers used with textiles in weaving for a scroll component or working on canvas. Example Jayne sent via instagram of someone cutting and weaving papers. Could the same images I create be photographed, printed on lighter paper and cut to repeat the image in a different form? Thought about a set of panels 4 pieces wide and maybe 8 in length with quality eyelets installed into corners of each which also allows sections of weaving to be linked to the imagery and easy assemblage. Sketch of trees on one side and night sky and moon on the other? Refer other Instagram images we shared. Took notes on paper, acrylic, wash layers methods. First image was an initial pen doodle of different forms and ideas. Materials: Textile, paper, projection. ripped paper, wool, washes. Ultimately working on suitable drawings is the best use of time. They can then be copied/printed/cut/projected, etc. |
      |
|
Images through my hat on the deck at Christmas. As with Jayne's pin hole shed images that appear like a camera roll.
Another thought that came at Christmas was to do with the planets and moons. Perhaps the idea of two spinning cylinders with one static directional light in the woven cylinder that shines onto a spinning image. |
|
|
Beginning Jan, Paper trials.
Small drawing samples used 6 coats gesso and more layers of ink which tends to corrupt the surface. Some had 3 coats gesso and then added white. |
|
|
|
Notes on drawing 1 (4 panel) 21/1/2026
Colour formulas, layer techniques, assemblage plans, diagrams. 4 sheets paper. Gesso coated 4 times on front first. Slightly watered down. 2 coats gesso on reverse side. Indigo wash on reverse side with paper on towels. Used spray bottle to spray paper. Then used large brush to paint indigo ink onto the sprayed paper. Horizontal lines. Then swapped papers around to suit the best look. Then turned over to create wash on front which was same technique but vertical and allowed some white areas poking through as seen in pics. Used projector (with frames) and sennelier willow to layout the 4 panel composition first, Then home made charcoal and compressed charcoal, eraser, fingers etc. Plan to try some with the cyan/black, Magenta/yellow combo as in moonlight with warm elements or flashes of. It was a very hot day when the paper washes were done. sprayed water, washed with ink with just a few squeezes of spray in it and then sprayed a little over some to add effects. My paper offcuts go into Jayne's weaving. perhaps her scrap goes into my hang? Have also worked out AS indigo colour formula if need. Have used AS indigo in the first one but have not been able to get hold of another bottle yet. Formula is cyan (pthalo blue), blue violet (a pure colour), and lamp black (a pure colour). |
|
Tiff's budget notes
Receipts
To purchase approx
|
Tiff Bound hours (doesn't all count but imortant to keep a record of the time projects take)
application phase 4 x webinars + 8 prep = 12 (noted out of interest) Workshop 1 = 3 hours Check in 1 = 1 hour Meetings with Jayne x 2 at hers + 1 at mine = 6 hours Studio time 6 Dec = 7 7 Dec = 7 9 Dec = 4 18 Dec = profile shots (3) 29 Dec = 7 30 Dec = 7 31 Dec = 4 1 Jan = 4 8 Jan = 7 9 Jan = 4 10 Jan = 1 (washes on first drawing) Workshop 2. 13 Jan = 4 14 Jan = 7 (first drawing) 20 Jan = 7 (more on first drawing) 21 Jan (finishing first drawing and updating website + painting paper for second drawing) = 7 22 Jan met Justin at his place 27 Jan studio = 8 28th Jan studio = 8 29th Jan studio = 8 30th Jan studio = 9 3rd Feb studio (maquette and drawings) = 4 + mining exchange visit 3 = 7 4th Feb studio = 7 5th Feb studio (maquette and drawings) = 7 6th Feb filming etc 4-8:30 over at Jayne's = 5 8th Feb Sun admin updating here and preparing paper for drawing 3 = 4 |
|
Notes on form and hang 21/1/2026
Paper components are approx 760mm high x 560mm wide and 300gsm with gesso both sides (in terms of weight) Gaps between paper could be up tp 100mm. Also allows airflow if wind comes in. Drawing Sets of 4 panels high by 3 panels wide? 1680 wide plus 200mm for gaps = 1880 wide imagery with tall trees. 4 panels high = 3040 plus 3 gaps = 3340mm high which seems a decent height to create some sense of awe? It is also doable, managable in panels as discussed. Takes about 1 week to create one set of four. The panels would have trees on one side and just indigo wash on the reverse side. Have discussed hanging from a hoop with weeaving going over the hoop with light above and using the diam of the hoop we worked out we might need 40 or more drawing panels but I think we can create a pretty significant effect with two of these sets of 12 panels and that is doable in the timeframe. Perhaps more but to allow for other tasks and contingencies this is my suggestion, depending upon Justin's thoughts. Weaving Incorporates ripped paper remnants from drawings, vertical lines and loose horizontals around 60cm width at any length. |
Further discussion with Justin re the install form.
22/1/2026. |
|
Art Spectrum indigo used for washes on the reverse side of Tiff's drawings. Images of the finished first set of four drawings assembled and trialling different hanging systems. Thinking about spacial measurements, gaps, height, and impact.
Discussed eyelets and metal or string, magnets, bulldog clips, ling hessian tape sewn or clipped. At present the use of fold back clips is the plan. Paper is around 300 grams per piece and the clip must be tight. Possibly a hole drilled in each clip to join to the one above. There would also need to be a method from the hoop which is probably too thick for a clip. |
Images below of the second set of four panels drawn by Tiff, of an ironbark tree. Washes use cyan mixed with lamp black and magenta mixed with yellow. Charcoal used is willow and home made, very little compressed except on base. Gesso used ws Liquitex watered down - 4 coats front, 2 coats reverse. indigo washes in reverse were stronger than in the first one. Squirted paper and squirted the bucket of in a little.
|
