Masks post 'spa' treatment - big sigh of relief!
After having some incredible explorations with my students in these masks over the weekend of the Mercury Expo, we prepared to do some more in-depth scene work with these masks and those that the students had made. Upon opening the box in class that Tuesday, one student commented that he thought that the larger mask had a crack. I experienced a moment of terror unlike anything I had ever felt before. I imagined myself plunging into a special section of hell devoted to failed artists. Not only that, I felt that I had let down my class, Torbjorn, and everyone else who had participated in and followed the Journey of the Masks. I was dreading seeing the actual crack.
Upon closer inspection, it was obvious that the crack was minor, but that it was in one of the most delicate parts of the larger mask. As I examined it further, I noticed that the wire mesh was also coming away from the wood. Since the masks had been in my possession the entire time and no one could remember a moment at which the mask might have cracked, we surmised that the extremely humid weather was possibly causing the wood to expand and contract, causing it to pull away from the mesh and leather attachment, and also to separate from itself.
I wrote to Torbjorn that night to explain the situation, and he was extremely calm in responding with an email that basically amounted to, "Relax, just fix it. This is a part of the journey." Right. The Masks' box does contain some materials for small repairs. I took a deep breath, went to the hardware store to purchase a few more small supplies and prepared to fix the masks.
It was a warm day, so I was able to work outside, which I love to do when working on my own masks. Breathing deeply, I applied the glue and carefully placed the clamps around the wood, cushioning the ends with some leather, to avoid marking the exterior of the mask. And let it set overnight.
The next day was just as beautiful, so I again chose to work outside. Carefully, I removed the clamps and the leather. The wood glue held. You can barely notice that a crack was even there. I proceeded to glue the wire mesh back to where it belonged as well. Then, I took a small bottle of linseed oil (which I had also purchased upon Torbjorn's suggestion), and gently massaged it into both of the masks.
This was my unexpected treat! The masks have been traveling for a long time, now, across several countries and two continents. They have been handled by many artists and appeared in just as many performances. They were in need of a little spa treatment. As I worked the oil into the masks, not only did some of the road-dust come off, but the oild brought out the natural variations of tone and color in the wood. I noticed the deep, red whorls immediately come to life in the small mask. And the large mask just seemed to glow. Not only that, became particularly aware of the way that the chin of the large mask came at a natural notch in the wood. Most of the notch is visible only from the inside of the mask, but on closer inspection you can see part of this organic flaw come through to the surface of the mask.
I was so glad to have had this opportunity to spend time closely examining these masks. I had noticed the details of the masks before: the wonderful third eye on the large mask that seems to disappear in performance, the wire mesh points that provide texture but are not a distraction when worn, the asymmetrical inlays that are the eyebrows, and the craftsmanship of the masks themselves were things I had noticed. But applying the oil to the masks, I was able to appreciate the material of the wood itself, its own beauty brought to life in the form of the mask.
Afterwards, I had an urge to wear the large mask. I had worn the smaller mask during our first opening ceremony. I wore that mask in the Andrews Gallery and enjoyed playing with a small audience in and around static sculpture (which, I think, became less static as we played). After the masks' spa treatment, it was just me in my apartment, but I put it on anyway and did a turn for myself and my cat. Even with such an intimate audience, I was surprised by what I noticed. After putting on themask, the cat immediately began purring intensely and brushing up against my legs. I don't know if I was channeling the cat's energy or if the cat was responding to the nature of the mask, but this turn in the mask was extremely responsive to touch. I wanted to touch everything in that mask. And suddenly, some of the photos from others' experiences in this mask (which work well for documentation, but rarely succeed in communicating the experience of wearing or witnessing a mask performance) made sense.
I'm glad that we discovered the crack in the mask. If not for that 'failure' (failure of wood, failure of glue, failure of me to notice at what precise point the wood began to weaken), I probably would not have taken the opportunity to clean the masks. And I might not have taken a turn in the large mask, which would have been a shame.
I am including the small bottle of linseed oil to send with the masks on the rest of the journey. The oil, as Torbjorn reminded me, keeps the wood supple, which they need as they travel to so many different climates. A little spa treatment doesn't hurt anybody!
Upon closer inspection, it was obvious that the crack was minor, but that it was in one of the most delicate parts of the larger mask. As I examined it further, I noticed that the wire mesh was also coming away from the wood. Since the masks had been in my possession the entire time and no one could remember a moment at which the mask might have cracked, we surmised that the extremely humid weather was possibly causing the wood to expand and contract, causing it to pull away from the mesh and leather attachment, and also to separate from itself.
I wrote to Torbjorn that night to explain the situation, and he was extremely calm in responding with an email that basically amounted to, "Relax, just fix it. This is a part of the journey." Right. The Masks' box does contain some materials for small repairs. I took a deep breath, went to the hardware store to purchase a few more small supplies and prepared to fix the masks.
It was a warm day, so I was able to work outside, which I love to do when working on my own masks. Breathing deeply, I applied the glue and carefully placed the clamps around the wood, cushioning the ends with some leather, to avoid marking the exterior of the mask. And let it set overnight.
The next day was just as beautiful, so I again chose to work outside. Carefully, I removed the clamps and the leather. The wood glue held. You can barely notice that a crack was even there. I proceeded to glue the wire mesh back to where it belonged as well. Then, I took a small bottle of linseed oil (which I had also purchased upon Torbjorn's suggestion), and gently massaged it into both of the masks.
This was my unexpected treat! The masks have been traveling for a long time, now, across several countries and two continents. They have been handled by many artists and appeared in just as many performances. They were in need of a little spa treatment. As I worked the oil into the masks, not only did some of the road-dust come off, but the oild brought out the natural variations of tone and color in the wood. I noticed the deep, red whorls immediately come to life in the small mask. And the large mask just seemed to glow. Not only that, became particularly aware of the way that the chin of the large mask came at a natural notch in the wood. Most of the notch is visible only from the inside of the mask, but on closer inspection you can see part of this organic flaw come through to the surface of the mask.
I was so glad to have had this opportunity to spend time closely examining these masks. I had noticed the details of the masks before: the wonderful third eye on the large mask that seems to disappear in performance, the wire mesh points that provide texture but are not a distraction when worn, the asymmetrical inlays that are the eyebrows, and the craftsmanship of the masks themselves were things I had noticed. But applying the oil to the masks, I was able to appreciate the material of the wood itself, its own beauty brought to life in the form of the mask.
Afterwards, I had an urge to wear the large mask. I had worn the smaller mask during our first opening ceremony. I wore that mask in the Andrews Gallery and enjoyed playing with a small audience in and around static sculpture (which, I think, became less static as we played). After the masks' spa treatment, it was just me in my apartment, but I put it on anyway and did a turn for myself and my cat. Even with such an intimate audience, I was surprised by what I noticed. After putting on themask, the cat immediately began purring intensely and brushing up against my legs. I don't know if I was channeling the cat's energy or if the cat was responding to the nature of the mask, but this turn in the mask was extremely responsive to touch. I wanted to touch everything in that mask. And suddenly, some of the photos from others' experiences in this mask (which work well for documentation, but rarely succeed in communicating the experience of wearing or witnessing a mask performance) made sense.
I'm glad that we discovered the crack in the mask. If not for that 'failure' (failure of wood, failure of glue, failure of me to notice at what precise point the wood began to weaken), I probably would not have taken the opportunity to clean the masks. And I might not have taken a turn in the large mask, which would have been a shame.
I am including the small bottle of linseed oil to send with the masks on the rest of the journey. The oil, as Torbjorn reminded me, keeps the wood supple, which they need as they travel to so many different climates. A little spa treatment doesn't hurt anybody!
Before
Before
"Any adhesive is only as strong as the pressure you apply." -David Dudley
1 comment:
GREAT !!!!! what a wonderful treatment... I can see how the enjoy it !!!! THANKS !!!
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