Chaos Fan : 1990

What if I randomly overlaid dyes. How far I could go before I created chaos and visual confusion.
I had begun to be acutely aware of the subjective decisions I made when building an image – when to arrest the process – when is a piece finished? In ‘Chaos Sequence’ in 1990, I began to de-construct the making of a layered image; to explore the idea of suspending time, in sequence, image by image – to map the changes and to reveal the transition from one stage to another.FanBook2_DyedSilk&Pockets_1997-8-The colour in this sequence, randomly and repeatedly overlaid, remains its luminosity. Each variation of tone, hue and tint has a quite extraordinary purity, unique to this particular process, while the silk still stays soft. The softness suggested touch, rather than mounting on a wall, and I knew that if it was enclosed within a book, it would retain its colour. I learned to make books in order to find a way of binding the sequence, and around 1995 I resolved the issue; However, I wanted to retain the ‘handle’ of the silk, so I made a sewn plastic sleeve for each, and bound them in one corner with a simple screw binder. The silk is easily removable. In a sense, what was temporary became a permanent solution.

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