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Re: Tyvek

Dorothy wrote:
As I recall it was a conservation no-no material since the chemical content
was still under observation (longevity, off-gasing, etc.)  At least the
artists are using it (sniff).  Which means fifty years from now the
conservators will have to try and save it, whether they can or not.
Pat wrote:
What's the big attraction anyhow? What does it do that paper won't do in
some form or other? Have I missed something vital?

When I first mentioned that I had this idea to try marbling on Tyvek, I was
looking for comments from people who had done it, or who might think it
wasn't a good idea. And so, this is just the kind of info that I was looking
for.  It seems one has to be a chemist nowadays to try anything new, and even
then, one has to wade through all the company *spins* on the info.

If it isn't going to be permanent, well, that's certainly good to know in
advance. It doesn't deter me from wanting to try it--it isn't that there's a
big attraction to Tyvek, more like curiosity and wanting to try something
new. Marbling is a wonderful art, but one that doesn't need to be confined to
simply making endpapers.  And one doesn't always make pieces to last for all
eternity. There is a certain attraction to experimentation, to expanding the
art form. Necmeddin (you'll excuse the spelling) did some wonderful flower
paintings in ebru, and I've been experimenting along those lines to compose
metaphorical paintings. Definitely different from traditional patterns, but
delightful to do. When I'm dulled from endless patterns, I have some fun.  (I
even had a show of the paintings in a local gallery; most people had no idea
it was marbling.) And I've had fun marbling 3-D objects, like pottery or
wood, wooden pencils, tennis shoes from my neices, etc. But these are simply
artistic and playful excursions.

Of course, now I want to make a marbled TYVEK kite.  :-)

Different materials have their own latent attraction. It's fun and worthwhile
to experiment. Knowing that it isn't archival and may, in fact, be damaging
is excellent information and will prevent me from using it in more serious or
permanent work.

BTW, I'm reminded of my wife's one-time teacher, an excellent oil painter.
The teacher had contracted turpentine poisoning from 20 or 30 years of living
in a studio filled with fresh paintings, and from painting and teaching every
day. He immediately switched every one of his students to linseed oil. One of
the students complained that after one or two hundred years the paint would
crack. He remarked, "If your paintings are still around and valuable in 200
years, they'll find a way to fix it or live with it. In the mean time, focus
on painting."

(My apologies and thanks to those conservators out there who are having to
find ways to fix things.)


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