Paletttes

The palette is derived from walks that I have researched as part of the poet's landscape of inspiration.  I am using the primary colours to create the palette of the walks (visual & tactile).  From the primary colours, I mix them until I feel the colour has matched my experience in the field.  I wait a minimum of 15 days to record the colours.  My sketch pad is consulted but it is not my main inspiration for colour mixing.  It brings me back to the memory of place and from there I resonate with my visual and/or tactile perceptions gathered on the walks. I may mix organic fragments from the walks collected in my boots or clothing as part of the texture of the palette.  

Ceramic Palette

The ceramic palette was a transfer from the colours derived from the canvas palette after the visual and tactile walks.  Ceramics has its own challenges with colour transfer due to the firing and glazing process.  The ceramic palette had to be tested with precision for future combinations and reliability.  The test tiles were pre-made in both red clay and white stoneware.  A white slip was applied on part of the batches to test colours on a white background.  Others were left with their natural colours.  I also tested with a strip of glaze on each.  I began with a tri-axial blending with the primary colours to create 21 new colours.  I also created a 2-colour mix for additional colours.  Primary and some secondary colours were used to start the process of combinations.  The last procedure was an improvisation of combinations after all the colours had been created. 

After evaluating the long process and high temperatures from the kilns used for glazing the ceramics, I realized that the process would leave a significant environmental footprint. I opted to find an alternative for the palette of the landscape.  New ceramic roof tiles were sought from a building material warehouse and the natural colours were attractive by themselves.  I began to create another form for applying the palette with cloth.  Burlap and sailcloth were the first testing materials for Machado and Wordsworth. The sacks for legumes were made of burlap and combined well in terms of hue with the red roof tiles.  Sailcloth was an adventure to find in order to acquire the right texture for display and painting.  I tried two different styles of cloth in two colours (golden beige and white).

Materials

The materials I have selected are directly related to the poets in time and space due to their inspiring landscapes.  I have chosen the roof motif for the four poets (Wordsworth, Whitman, Machado and Snyder) for this new research project on tactile perception. 

Wordsworth wrote some his most profound poetry including Prelude near Grasmere and the Lake District.  This area used slate for its roof tiles. Wordsworth wrote about this roof style and how it fits naturally into the landscape in a guide to the lakes. 

Whitman's house on Long Island used cedar shingles for the roof and I was able to track down circa 1840 shingles in an antique material shop.  Cedar is bug resistant and quite long lasting for due to its water resistance.

Machadotravelled for his job to different regions and his poetry was inspired mainly in the Andulsian and Castillian landscapes.  In almost every region of Spain the red roof tiles are to be found, even in the mountain village of Valsain.  I was able to attain old tiles from the Puerto de Sol, the center of Spain, from a historical building under remoldeling.  The roof was being replaced and yet old tiles (100 yr. old) were interwoven with the new tiles to appear vintage since the building was a historical site protected for cultural heritage.