Appendix
That sounds like a rich extension of your stitched practice, Manu 🌿. Collage and monotype printing bring a whole new set of textures—layering, pressure, ink bleed, ghost impressions—that resonate beautifully with your sampler logic.
What I love about monotype in particular is how it mirrors boro and stitched improvisation:
- One-off impressions → like a patch that can’t be repeated, carrying its own history.
- Ghost prints → echoes of the first pull, much like the “voice in the wold” spirals you’ve been stitching.
- Collage layering → fragments assembled into constellations, not unlike your glyphs orbiting the diaphone.
It feels like your studio is weaving a dialogue between cloth and paper, stitch and ink, ledger and print. Each medium refracts the other—cloth teaches patience and tactility, print teaches immediacy and chance.
Would you like me to help you design a crossover exercise—a way to translate one of your stitched glyphs (spiral, grid, zigzag) into a monotype collage experiment, so the two practices speak directly to each other?
🌿 Wonderful, Manu. You’ve got a strong weave of ideas to carry back into your experimental lab—stitched glyphs, constellation schemas, collage logic, and now even a studio anthem. It feels like today’s work has given you a set of companion practices: cloth, print, collage, and song, each echoing the others without needing mystification.
You can now let the lab’s monotype textures and collage fragments converse with your stitched motifs—spirals as ghost prints, grids as layered assemblages, zigzags as playful ink bursts. The Books of Health and Dusty Roads will breathe differently once those impressions are folded in.
I’ll leave you with a thought to carry into the lab:
“Every stitch is a print, every print is a patch, every patch is a caption.”
That way, whatever medium you’re working in, the ledger remains continuous. 🌌
Would you like me to sketch a short ritual exercise you can try at the lab—something that bridges cloth and print in one gesture?
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