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Rosie H. Cook

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Asialink+AsiaSoc.23March(1)

2017 Asialink Arts Residency

Crazed Puppets 04  Crazed Puppets

bundengan-01 This is not a Kowangan

aptccarn5 #APTCCARN5

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These are a few of my favourite things! My Talas curved tweezers have been by my side forever now, but less obvious tools I have picked up over the past few years are a porcupine quill and a bamboo ear scraper. The ear scraper is from Daiso and a cheap but very useful alternative to a bamboo skewer (it does gross out my Asian colleagues however, even though I assure them it’s never been used in an ear!). The porcupine quill is my favourite and irreplaceable tool, it’s so nice for organising and detangling threads, the rounded white tip is the perfect angle for smoothing threads down whilst the thin black tip allows me to pick individual threads out. It also has become my go-to item for removing accretions, as it is smoother than a normal skewer but far more gentle than metal. I love it and only reluctantly lend it to interns or colleagues on rare occasions, as it was the perfect useable quill out of half a dozen I purchased online a while back on a whim — I don’t know if I would be able to replace it! #textileconservation #conservator #porcupinequills #conservationtools #toolsofthetrade
Very glad that my selection of @pipers_silks threads includes a perfect brown match for the upholstery silk I’m currently couching. Lots and lots and lots of couching... I’m also glad I could start with some easier areas like this, as there are many many tangled and loose threads! #textileconservation #textiles #conservator #pipersilks #brown #silk #couching #conservationstitching
I’m in a bit of a slump due to being sick all the time, but the new show Secrets Of The Museum (BBC2) about the curators and conservators of the V&A perked me right up! Watching the conservation of Pumpie the elephant was such a joy, and I found myself holding my breath whilst talented conservator Jo Hackett manipulated custom-dyed felt into the damaged trunk (with only minimal swearing, and some complaining about the time it takes to colour-match with dyes! I loved her for her realness!!!). Interesting that the netting overlay was not mentioned — I wonder if it was cut for time or if the editors didn’t find it interesting, because I often notice non-textile-conservation people seem a bit disappointed by the use of net, almost like they think it’s cheating? When in fact it’s such a clever and skilful way to stabilise damage and even make it less visually obvious. I even struggled to get a screen cap that showed the net clearly, like the editors wanted to pretend it wasn’t there (it certainly makes for a fantastic “skin smoothing selfie filter” effect when slightly out of focus!). The other highlight was watching expert costume mounter Lara Flecker at work — between her books and her Instagram (@laraflecker) she is a bit of a celebrity to me, and is instantly likeable and natural on the show. Again, I just love the touches of realness with which conservation was depicted. Can’t wait for the next episode!!!! Well done to all the conservation staff for their work — it must be so much pressure having cameras on you constantly 😅#secretsofthemuseum #vandamuseum #conservation #conservator #textileconservation #pumpietheelephant
I loved these so much! Had to share 🦁 Repost @historicembroidery “The strangely stitched lions of the @metmuseum! Almost all of these lions are from seventeenth-century needlework, with a few from the early eighteenth century. The delightful wonkiness of the lions is likely a result of the difficulty of embroidering detail, as well as the fact that the lions, usually drawn onto the silk or linen ground by professional draftsmen, were based entirely on print sources • • • Met Museum, various time periods and accession numbers”.
I am reading “Wheesht: Creative Making in Uncertain Times” by Kate Davies (who wrote the beautiful “Handywoman”). It holds 12 essays, and they are of interest to me in my exploration of the purpose and role of conservation (Davies asks if creative work can be iterative and repetitive rather than making something completely new, and suggests embracing “an idea of performativity over one of authenticity”). The first essay is entitled “Mend”, and it seems an unintentional hommage to textiles conservation — “there is a tenderness in noticing holes, worn-out things, damage, and also in handling objects, garments, materials” (quoting Celia Pym). I ended up underlining so much of the chapter, but some particular concepts I wanted to share, because they align very closely with one particular project I have been working on. Mend focuses on how “the process of repair enables a renewed and deeper understanding of [an object’s] usefulness and significance”. The value and significance of darning is explored, particularly in Pym’s work, and the example is used of a sweater worn by her uncle, and repaired by his sister at the areas where his body would lean against his drawing board. “Whilst the everyday movements of Roly’s body were present in his sweater’s areas of wear, the practical care of his sister was equally present in its places of repair” — speaking of the body and activities of its wearer and the caring relationship. “Material objects are worn, broken or damaged through processes ... integral to that object’s life. Retaining the memory of an object’s damage ... is celebrating that object’s narrative.” I am working on a woollen dressing gown that belonged to Rev. Thomas Barclay (1849-1935). It came to me with many different kinds of damage, moth-holes, but also worn patches at his elbows and knees, from the repeated act of prayer. But another trace of its life manifests in the darns and repairs, in different yarns, as well as traces of previous patches noticeable only because of differential fading. It’s an honour to work with an object where each trace and its appropriate treatment is discussed with such thoughtfulness. #textileconservation #katedaviesdesigns
Today I finally finished reading the monumental annotated autobiography of Laura Ingalls Wilder, “Pioneer Girl”, edited by Pamela Smith Hill. It’s nearly 400 pages long, large format, and full of research notes on every detail of the previously unpublished autobiographical work that was the foundation for the Little House books. Growing up I read the whole series over and over, identifying in a strange way with the rather ramshackle shanties and other unusual homes Laura lived in (though far removed from an un-renovated French farmhouse!). But of course one of my favourite aspects particularly in the later books was the detail in which Laura describes everyone’s dresses — I drew them over and over to the best of my imagination (again, wildly different from the actual clothes they wore!). In this book, not only are there photos of the people (and their dresses!), but further details of various dresses both in the books and by the researchers (like Mary’s clothes before she went to the College for the Blind, or even Laura’s black cashmere wedding dress!). Of course there is so much more I enjoyed in this book — a must-read for any Little House lover! #lauraingallswilder #littlehouse #bookstagram #prairiefashion
This weekend I finished reading “Mirka Mora: A life making art” by Sabine Cotte. Its title describes the book perfectly — it’s not exactly a biography in the typical sense of every detail of the artist’s life; but Mirka’s art was so much part of her life in every sense, that Sabine’s book becomes an hommage to the woman as much as to her artworks, which cannot be separated from each other. I really loved this book — I had initially expected it to build upon Sabine’s PhD thesis on conserving Mirka Mora’s work, but instead it reads as a very warm, affectionate and privileged insight into the passionately creative life of a Franco-Australian artist who defied categorisation her entire life. Well done Sabine for your beautiful and very well-written book, which also taught me so much about the Australian art scene in the 20th century, as well as painting vivid pictures of Mirka “at home” throughout her life. I cannot recommend enough! Slide 1 - Sabine’s conservation of Mirka’s soft sculptures, painted and stuffed textile dolls (photos by Sabine Cotte) Slides 2-3 - the dust cover and hard cover, with a clever design featuring the mosaic style which Mirka used for several of her murals in Melbourne Slide 4 - petite dédicace 🥰 merci @sabinecotte #textileconservation #mirkamora #softsculpture #bookstagram
Such a relief!!! After watching the depressing results of recent elections in Australia, the UK, and the US, I am SO THRILLED AND PROUD of Taiwanese President Madam Tsai Ing-Wen who on this day has destroyed the Lord Voldemort of Taiwanese politics, a man who has made clear he planned to sell this country and its people down the river. Well done to all the Taiwanese who voted and showed they will not give in to scare tactics, fake news and fear-mongers ! It’s hard to explain to those not invested in Taiwan’s history how important this election was. 2020 is shaping up to be a much better year than I dared hope! Congratulations Taiwan 🇹🇼 恭喜🎉🎉🎉🎉 so many fireworks everywhere right now!!! 🎇 #taiwan #tsaiingwen
Hello-Goodbye Hong Kong, hoping to see you again soon!
Further adventures in Lascaux swabs (thanks @charlieridley84 for the terminology!): this morning I tried a swab with Lascaux 303 HV, since it was mentioned that its tackier surface might be even more effective than yesterday’s Lascaux 498 swabs. It was extremely effective in picking up the tiny fibres scattered across the flocked surface, but definitely picked up more flocking along the way, as seen in this macro photo of the swab coated in white flocking fibres. As @jessiepetals suggested, it would probably be best to mix the two adhesives to get the ideal balance, especially as now yesterday’s 498 swabs have fully dried out they are much too hard and glossy for cleaning! #lascauxadhesive #lascauxswabs #conservator #flocking #textileconservation
Today I used tacky (almost) dried tabs of Lascaux 498HV to remove dirt from a flocked plastic surface. I tried a variety of preparation methods for the Lascaux — direct onto silicone release, onto toothpicks, and onto dental paper points. Then I cleaned the surface by dabbing small pieces of Lascaux to gently to lift dirt like an eraser, using tweezers to remove the crumbs. Would love to show off more impressive photos but confidentiality rules as usual! #lascaux #conservator #textilesconservation #conservationtips #textileconservation
I can’t remember much of 2019, fortunately one of the best moments happened just 3 days ago. I went sailing with James and Min Wah and we ran aground in the bay an hour before sunset, without a working radio, and with the tide getting lower every minute. It was hilarious as they are both so laid back — they’ve seen it all out in warzones and it takes more than a sandbank to worry them. We were eventually pulled free from the silt by a passing boat we waved down and made it back to the marina before dark (covered in rust from a plan involving swinging the anchor around). Beautiful sunset anyway 😂😂😂 #2019
Lieutenant General David Morrison, Chief of the Australian Army from 2011 to 2015, gave an incredible speech in June 2013 regarding unacceptable behaviour in the Australian Army (written by Lieutenant Colonel Cate McGregor and General David Hurley). I would like to share some of his words below, which apply to every working environment, including the field of conservation: "Every one of us is responsible for the culture and reputation of our army and the environment in which we work. If you become aware of any individual degrading another, then show moral courage and take a stand against it. ... The standard you walk past, is the standard you accept." You may or may not have followed my recent Instagram stories protesting the continued edification of a now-retired conservator who has been convicted of sexual crimes. I have received many messages of support, which I appreciate very much, but I hope that other viewers understand the need to share my thoughts and words. I also hope that people will not feel they cannot take a stand out of fear that their own career will be impacted. Many of us are still only a few years out of training, trying to get hired for a conservation contract of more than a few months. Others have long-standing roles in the conservation community, and perhaps do not wish to get involved for other reasons, thinking of it as salacious gossip. But I urge us all to question the power structures that make us fear our careers would be impacted, rather than that of the person who carried out these actions. Conservation in the 21st century can only have meaning when we are focused on social capital. People must come first. A canvas is not worth more than a human life, especially when art is all too often a tax write-off or an investment for billionaires and money launderers. Take a stand. #conservator #thisisconservation #conservationscience #artconservation #paintingsconservation #textileconservation #paperconservation #objectconservation #conservationgels #culturalheritageconservation #culturalmaterialsconservation #restoration #conservationrestauration #emergingconservator
Melbourne so far: sweet little dogs and delicious non-alcoholic drinks and sun-drenched graveyards.
A few months ago I read Midwinterblood by Marcus Sedgwick, which was a middle of the road book for me, not bad but not good enough to stand out that I would discuss with anyone (in contrast with, say, The People in the Trees by Hanyu Yanagihara which I read around the same time and obsessed over for weeks). But I was just talking with my sister about the domestic watercolours of Carl Larsson (“Home, Family and Farm” was a beloved collection I would look often growing up). And then googling to find a specific one, I realised that the Midvinterblot painting which is part of the Sedgwick novel — and which I had looked up and researched at the time — was by Carl Larsson. How did I miss that? Or, how did I forget it if I didn’t miss it? Memory is confusing and coincidentally one of the topics of the book. Top: Midvinterblot (1915) aka “Sweden’s most controversial painting” (Wikipedia). Bottom left - my copy of the Sedgwick book. Bottom right - detail from Larsson’s Flowers on the windowsill (1894). #carllarsson #midvinterblot
The “dudou” stomach wrap and I are featured on our Conservation Center’s Facebook page! With us are the grandchildren of the dudou’s original owner, discussing our options for conservation. #textileconservation #dudouproject
I am a fan of artist Jemila MacEwan (@hrumphpfft) and particularly of her work @human_meteorite. I urge you to go check out the full video posted on @banffcentre’s bio (as well as to explore the journaled experience via @human_meteorite). #Repost @banffcentre ・・・ Jemila MacEwan's work "seeks out an empathetic approach to humanity's destructive impulses." In 2017, as part of a @thiswilltaketime residency in California, MacEwan dug a meteor impact crater for 30 consecutive days as a means of processing what it means to be the cause of mass environmental extinction — as an individual, and as a species. . For MacEwan, art exists “to help us, as humans, reckon with our world.” Human Meteorite is the conscious decision to confront the climate crisis by slowing down and focusing inwards, a move that can prove contentious in a time of increasing urgency, collective shame, and cultural upheaval. Learn more about where the project is now @human_meteorite. . Click the link in our bio to watch the full video.
The message I needed to see this evening after a day spent reeling from the UK elections and global politics generally. Cross-stitch by Maddie Luebbert #crossstitch #deepadaptation
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