This is a piece born of process. It began as an idea to stutter a painting, forcing a gap in a pre-painted surface. That it was pre-painted became important to show the stutter in a narrative, rather than as a draw to the physicality of the piece.
However the physicality took over the process.
Fringing the exposed tear in the canvas was a hypnotic process, begun to create a slack string they resisted. Pinning the resulting strings, which are surprisingly strong, created an imposed tension that stutters the narrative on the surface, and within the material itself, far better than I had originally imagined.
Studying the place where the strings rejoin the surface shows marks spread, the edges of colour are still visible.
Crossing the strings rejoins both halves without them ever touching.
The tension of the piece relies upon the nails, embedded into the wall. Making the surface of the wall a vital component to the piece.
The canvas is a piece of the floor from my degree show work. It collected the marks of use. That collection is no longer as important as the fact that the canvas is not clean or new. I need to spend more time thinking about this.