Instruments of Care

A study of devoted time and spirited objects, interacting with themes of material consciousness, and emotional ties to belongings. I come from a family of makers, and this work has been a visual representation of my search for belonging in that space, as well as an exploration of material practices.
Not only, how these objects might appear on their own, but how their spirit is enhanced when placed in conjunction with others. Our own energy and livelihood extend into the things and spaces we interact with, carrying us with them.

Together, they almost have a heartbeat. 

Belongings are the cornerstone of this project, the relationships (intentional and accidental) that we develop with them. My focus on this subject matter is inspired by my grandpa’s workshop in Saskatchewan, a space already full of stories gained a deeper meaning after he died. The collection of antiques, alongside his creations and tools, creates this presence, as if he’s still there. I really wanted to explore this feeling through my work.

I began my work by bringing together some of my own belongings, all of which have stories, and relationships tied into their journey into my hands. This exercise was essential in curating the kind of environment I wanted my work to emulate.

Throughout the year I spent a large majority of my time experimenting with new processes. I decided to lean into notions of time and memorialization, honouring the lives of my materials, and highlighting the value of craft.

I began my work with paper, by mixing pulp materials with discarded plants. Some of my combinations included tissue paper with flower petals, comic book pages with bok choy, and grass with magazine paper. After blending, I formed the pulp into paper sheets with my mould and deckle. The end results varied in density, and texture, providing a selection of different samples.

One of the sheets had text on them and presented the words “no accident”, this felt like a message from my materials to me, and ended up on my final piece.

This is the first project I completed with my paper. The wood covers are from a tree in my grandparent’s yard in Saskatchewan. And the content of the five page book, holds my writing about the tree that I took the wood from. The narrative follows the relationship that the tree might’ve had to it’s environment.

The physical book will be available to read at ‘The Reading Room‘ in the ECU library entrance.

My other focus this semester was jewelry, specifically ceramic beads, and wire chainlink. My love for spirals showed up in the chain making, I spun them using a wire twisting tool, and experimented with different combinations, both traditional and original.

The ceramic beads were also rolled by hand, using M370 clay, and a selection of glazes. I mixed some of the glazes to look like the green of the lake my grandparents live on, and the blue of the sky. And used a studio glaze that gives off the appearance of the poplar trees that grow in the yard and all over the prairies.

Throughout the year I built this project around the silhouette of an altar, something that would serve as an environment for my work to live in. I chose to create a dartboard as a metaphor of specificity, and as an homage to my grandpa’s workshop. And of course I needed darts to match.

The darts themselves were purchased, but I made the flyers. I collected images of my family and myself and merged them together, they are the path that brought me to my craft.

Lastly, while spending time outdoors in Saskatchewan, I came across many animal bones in the bush, I especially loved this cow vertebrae and decided to bring it home with me.

Thankfully my uncle has a lot of experience degreasing and bleaching bones, so I was able to give it to him to prepare before I used it as the bullseye to my dartboard.

This project has brought me closer to my family, and to myself. I’ve discovered a practice that feels like a reflection of myself.

We must continue to make, its in our bones.