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@gracerip

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If I do end up using color, could blue become the shadow of the other form?
Artist Inspiration: Ruth Asawa
I was introduced to this artist a few weeks ago. She uses traditional basket weaving techniques to make her wire sculptures. By looking at her work I started to think about aspects that are pertinent to my own project.
forms within forms
importance of light and shadow, clarity/distinction of form
bodily creating work, physical toll of craft works
things that hang/float in space
continuous line
Again I really like the places of overlap. The white looks like thread,thin like a thin web (I want to avoid halloween connotations, not spooky or unsettling).
Starting a new one, going for bigger and combining white and bare copper again.

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This is the honeycomb netting that I did a while ago that turned out very flat and uninteresting. I played around with it today and when the wire wraps back on itself the distinction between what’s in front and what is behind is unclear. I think I might try to push this further.
(I realize that last image is soooo blurry, even the camera is confused.)
Green Wire Sample.
Continuing my colored wire explorations I decided to use the leaf green metallic. I think its safe to say I hate it. Something about how fine it is reminds me of grass skirts and grocery store fruit bags. It seems much more wiry than any of the others I’ve done somehow. It does not transform the material enough...however, I started working larger about 50 stitches cast on as opposed to my customary 12-25.
Blue wire sample with plain net.
This one opens and closes. There are purposeful slits/gaps in the tubelike form where it rolls in on itself like a fruit peel. It looks dented/dimpled.
I used a combination of the metallic and the matte blue wire but it looks more like a shadow on certain areas. It’s about four feet long and at its 6 in at its widest point.
Started working with the raised net pattern (reminder of what that looks like on the right) in the round, unintentional decrease in the middle there but I like how the rest of it seems to bloom outward. I don’t mind the unfinished edge when I use this pattern as opposed to plain net. I started with the white wire on this piece and transitioned to bare copper which I then torched creating a gradient between the two.
This is about 1.5 ft in length and 3 in wide at its smallest point.
Working with the ivory enamelled wire is so interesting. The matt finish makes it look like string from a distance. I've never liked the harshness of the bare copper on jewelry in the past and I often end up finishing my works with liver of sulfur or a patina to get rid of that shine. I used an old bangle sample for my foundation which works much better than the setups I've used so far.

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Finally got the enameled wire I ordered from Etsy today. 32 guage (very thin), supposedly used for wire lace. I decided to get a mix of opaques (ivory, blue) and metallic colors (plum blue, leaf green).
And the studio decoration attempts continue...
Decided to knit today
Worked off this keychain link as my foundation. It's easier to flip when I get to the end of a row and it moves less than the thickness piece of wire I used before.it seems when I use a bigger gauge it becomes work hardened (and more fragile) faster. I'll have to anneal it more often. Started working in the round again with the plain netting stitch. Not really liking it yet but I'll keep working.
Added this dead leaf to my studio wall today. I brought it all the way without destroying it on the bus!! I liked the structure and now that I look, it mirrors the webbing image below it.

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Making myself at home. I took a trip to the library today and picked up some books on women’s work and decorative arts. I need to get some history for the activity I’m so invested in.
Decided the best way to get comfortable in my studio space was to get working. This is the honeycomb from the fancy netting section of the book I mentioned last post.