It’s been a fragmented week outside of my main coursework on A4. Some good stuff has happened though and I need to document it and have faith that it will form steps in my creative process.
Firstly, as well as this blog I keep a sketchbook of notes and ideas and trials. I need to write a separate blog post about this, but this week realised that I had to find a way of adding my prints to it in such a way that the prints were protected, secure, visible and removable. I ended up with some plastic cd sleeves that attach to a page via a self-adhesive pad on the back. They have flaps that fold over and secure with another self-adhesive patch, which I chose not to use as I don’t want the prints to catch on the sticky when being removed/replaced. As a first step, it’s fine. I want to get some sleeves that are clear plastic front and back as they will be better for work where both sides need to be visible. I can attach those with magictape down one side so that the sleeve is secure and can be turned like a page. The print below is a normal portrait, die-cut into three pieces and then assembled with some pieces upsidedown, so you don’t get the whole picture at once but you do get front and back in one go. You can see that I haven’t pushed out all the tiny windows yet.
I had posted on the OCA discussion form about my need for acrylic frames that were transparent front and back and that could be bought independently of the print. These would be ideal for showing altered polaroids and prints without running the risk of damaging an already vulnerable object. I had a very helpful reply giving me a link, and a name, for such a frame. I’ve now found a UK supplier and will put a trial order in over the next day or so to see if the sizing fits with my work.
Finally I have done some more work both embossing and die-cutting Polaroid and Instax prints. I have learned that the emulsion in polaroids bleeds white, and that in Instaxes bleeds black. Cured Instax prints have a back that turns a remarkable iridescent gothic plum once passed through the die-cutting machine. Again, a very perspicacious comment on Instagram pointed me to the Claude glasses of the 18th century that allowed painters to apply a “filter” to their landscapes and to paint those landscapes with their backs to them. This fits perfectly with my fascination over fronts and backs. Going back to the Instax prints, they acquire little crystals within the purple too, absolutely beautiful.