building ideas around a new work that brings the photo of a sand marking into literal sand marks within the studio space I wanted the work to support the work in more intentional way rather than just a pile of sand.
With the idea of sand, my mind goes to the sandpit that kids play in. – I thought of this in a practical term. Though this turned out to be an important step in my process as the thought of the Japanese sand meditation trays was brought into the conversation.
Gardens of raked sand or gravel and stone are referred to as karesansui gardens which literally translates to “dry landscape.” This style was developed in Japan in the late Kamakura period (1185–1333) and an important Japanese aesthetic principle underlying these dry landscape gardens is yohaku-no-bi, meaning “the beauty of blank space.”
These karesansui gardens are made to hold temporary marks that are constantly changing. I can imagine this historical Karesansui garden above has had thousands of sand sequences or patterns marked into it. This is similar to the beach. the marks we make when we walk on the beach or do anything on the beach we leave marks of where we have been. These marks will soon wash away and new marks will be made the following day, The continuous cycle repeats itself over and over.
I notice the marks made in these two circumstances cannot be permanent. This is where the camera can record these marks. From the ideas discussed here I have thought of a way I can introduce a permanent mark and an ephemeral mark.
I have printed out A1 a photograph in the 6×4 scale as this relates with the smaller images that will relate to this work. I spread lose sand over the image to hide it. I have also used pieces of found wood to frame the photograph. The wood is not a fixed frame, each piece is just sitting on the ground. The delicate nature of this structure supports the fluidity of the sand. The whole work is just “there.” I wanted to explore this way of assembling as it adds to the ephemeral aspect of the sand. This art work also supports the meditative and healing quality of the karesansui gardens.
This work is made for the audience to interact with. To move the sand to the side within the wood to see the photograph underneath the sand. Having the art work on the floor speaks volumes to the ideas of mark making and the connection the audience has with the art work. The imperfect placement of the found wood is an intentional decision as well, supporting the ideas around let consricteted from – the sand. I wanted the wood to complement the sand not introduce a new element.