Debora Alanna - Relationship - 6 sculptures in progress

Prelude to sculpture drawings

Here's some drawings that are preliminary ideas that may become sculpture or installations. Some themes are reflected previous work.  New drawings replenish the concepts. This is a way to start thinking about making new work. The minimal colour allows concentration on form.

"When I let my life speak, it says to me..."

Created 13 January 2010


Royal Roads University - ESA program
Post forest walk, facilitated by Hilary Leighton, Director, Continuing Studies
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Jargon juxtaposed

with composted fellings
stretched and striated.


Brambles of thought
entangled, jangling
redundancies.


Clarity shrieks
and clearings emerge
with gatherings of saplings
glistening and swaying
gently in sun kissed
quiet.


Bridge that expanse
of field and furrow
including doubt
and sorrow
to saturate beyond
sunlight’s marrow
wrinkled water’s
agitation burrows.


Incising, exorcising
percolating musically
with brisk and unrelenting
nervousness, daunting taunting
cajoling, reminding and imploring that fun is fine

Fun is mirth and breath.


Festivities of silence feast
on absence of vision
regaling whiffs of rancour
begs for indifference.


Release the light.
Lift the dream.
Endanger the debilitation.
Enable the laughter.
Provide simplicity -

Abundance.

Canal

This is some work in progress for my show at Spiazzi (Associazione Culturale Spiazzi) in Venice, Italy. It will likely take place on the 26th, a Friday. I am calling the work Canal - Ebb and Flow.

The reason for this title, besides the obvious geographical reference, is the concept of passage, and the oscillation between waning energy and fluidity in uninterrupted movement of conscious and unconscious thought. The wake from the vapporetti, the movement of the gondolas breaking the water's stillness, unrelenting, moving forward with surfaces changed, but the water remains unchallenged.

The canal contains all penetration, and remains a way to and from somewhere. Coming or going, the surface is thrust with undulating forms. This is where the inspiration for my series here comes from.

But this is more than living in Venice, and observing its functionality. The work demands a steadfast concentration on forms that do not fluctuate, that are statuesque, in that they impose upon the viewer, requiring concentrated evaluation. In the video barrage of contemporary culture, this act of concentrated viewing may be unfamiliar. There are no buildings to give it reference, such as the statues on cathedrals or cherubs on ceilingwork.

This work is about movement, but does not move. It is ceremonious as a meditative offering, discovering form and content, allowing the undulations of ebbs and flows to be still for sustained viewing.

http://www.thefreedictionary.com/canal

http://www.thefreedictionary.com/ebb

http://www.thefreedictionary.com/flow

A.I.R. Vallauris - The beginning of the residency

Seems like another world has embraced me - a time where plagues were rampant, Napoleon landed, a time where tampanade and truffles are ordinary fare. Only the olive spread and dark aromatic culinary delight are the norm, as is the well-worn architecture.

A labyrinth-like geography, this town has four corners, a plaza on each. Cloistered in one of the towering houses, I share an Ikea furnished living space with two other artists, one American, another Irish. We each have a separate studio, and mine is shown above (exterior). I have only visited my converted donkey stable, and wonder what kind of work will be produced in this stone chamber.

Extreme sensory perceptions are rampant as I walk up the cobbled, steep hill to the place where I can concentrate on sculpture again. The heavy stones calm me from my mysterious angst. History presses on this West Coast inhabitant. I need to dig deep into my ancestral past to find the sculpture within me.
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Atelier Silex and beyond

Its been almost 2 weeks since I completed my residency at the Atelier Silex. I spent four weeks creating 6 sculptures, with the intention of digitizing this work.

Through multiple layers of contacts, I was able to spend a few hours in the FormLab and the University of Montreal. However, at this time I am still searching for a means to this end. My intention is to digitize this work, and create stereolithographs that can be then utilized as molds for sculptural embellishment for architectural use. Here are two views of the same work.

The 3D digitizing studio at the Concordia University (Hexagram C) uses equipment that cannot have any metal in the original object. My work has a metal armature. I would need to make a polymer mould to facilitate any digitizing of this work. Every step taken away from the original will compromise the final outcome of the work.

This work has other challenges, which I intentionally created after previously digitizing work at Cyberware. Voids are not read by digitizing software that I have used. A trial run at the FormLab indicated that the voids or holes in the work would need to be covered by paper to be read, and the file later edited to recreate the voids. Also, a limit of 12 inches for any digitized object to be sent to a stereolithograph machine would mean most of theses pieces, which are just a little over that dimension, would be scanned in separate entities and each stereolithograph would later have to be reconnected into the work as a whole.