Mola and the additive / reductive process

Going home today and packing a few clothes and 20 kg of study materials for the weekend. This week the dining-table studio helped produce some layering (additive) and revealing (reductive) pieces including further work on this piece from the previous post. I fused two of the rusted interfacing pieces  then added the rusted silk which had been Shiva rubbed (see earlier post) over a lino cut stamp made last year. The next phase was to stitch layered, small squares of water soluble paper over the lino-cut design and produce the negative (or positive) form of the lino cut - so where the spiral is highlighted in the gold Shiva rub by its absence, the moulded paper produced delightful ridges and bumps which were painted with watercolour and also gold rubbed when dry. The three hearts made from pepsimax cans (cut, flattened and blow torched by Kate) are now veiled under rusted chiffon. The selvage from a  rusted piece of old hospital sheet (still thick and rich after all these decades ) has been wrapped in small pieces of  chiffon opening at one end like flowering buds. It's still a work in progress - assignment due next Tuesday which really means Sunday night. I have enjoyed thinking about these processes - the end product is not so important as what happens in the head - and heart.

An example of using mola as a reductive and then additive process. One layer at a time removed before adding a piece of the second layer in a rolled form, couched into the space.