Pattern Recognition, 2016 – ongoing, Reference material documentation and process descriptions below. The project serves as both research and practice, in gaining insight into the vision and body relationships, for individuals and groups, of all ages. The work is situated at art praxis, embodied cognition, behavior, lineage, and agency in choices.
The second step of the project was to draw the rocks following an axial rotation similar to the scientifically reported rotation of the earth. The drawings were made, then traced with the visible under-layers onto the new top layers with the idea of impressions being visible in memory only up to a point until visibility fades but does not erase existence.
The next step was to make gauche paintings to explore relationships between vision and body, presence and memory, teacher and student, author and reader through materials. The paintings were done on the “wrong side” of Japanese Washi paper, to transfer the pigments onto the acid free black papers. The pigments left traces the way a memory becomes a trace of lived experience. The paintings were made from two sources: photos or memory. Some viewers are able to perceive the difference between paintings made from photos and those from memory. In addition to discerning difference in how forms are made by hand from referencing external or internal referents, is also considering the process of transfer. As the original can become a symbol for reading-as reading a book or remembering a book, the paint transferred to the surface under becomes the information absorbed.
Matter, material, physicality, the tactile. From a desire to transform the visual into the tactile, the gauche works through differences of being of nature and being in nature. The pattern recognition project serves as a templates for pedagogical process and a textile project. Forming slowly since moving from the United States to Norway, in 2015, Rachel began working intuitively, to see how landscapes inform human development and Becoming processes. Considering ideas about balance, terrain, and certainty of actions by choices in working-with and not in dominance-of living processes. Born out inquiry into what creates a body and what makes someone who they are, instead of the idea of using nature, taking it up, seeing nature as pure resource, Rachel gathered rocks from hikes, numbered, and archived them. She transposed the line forms from the rock faces into drawings, the line drawings into choreography, and the feeling of the movements into the template for the visual textile project. In reaching to realise the impossible act of hugging a visual field and the probability of becoming a place, Rachel sees textiles as a way to make sharp things soft, and the absolute and brutal beauty of the changing landscape to physically reach for comfort, understanding, and reprieve. Rachel is seeking to work in cooperation and partnership. The project and processes involved can be used as pedagogical tools in classrooms, to form cooperative group work in individual and business settings, and a business for sustainable design. The value of labor, of our body, our nature, and life through the weaving of thread to remind us of the wholeness and warmth we already have within the unity with nature.
An exercise in writing a letter in reverse, to see how it appears through a material. This practice develops understanding of communication and the two-way nature of the way read symbols are transmitted and interpreted.