Updated: Mar 4, 2020

As of yesterday I began collecting the lint from the tumble dryer filters in my halls accommodation. I wasn't aware that you are supposed to clean out the filter before starting a new load until I saw the person next to me scoop it out of the lid. I am fascinated by this fabrication of fibres and fluff and have begun collecting it every time I complete a wash - which coincidently isn't very often as Circuit Laundry charge an extortionate amount for one wash. I can't seem to escape the cost of art material, even when theoretically it's 'free'. I am considering leaving a plastic bag in the laundry room with a note, prompting people to donate their lint for this worthy cause.

I am focused on using the material in it's raw state; without altering its materialistic conformity or demeaning it's structural character by processing it too much. The photos showcase me playing around with composition and shape. The material is easy to mould and is surprisingly good at holding it's shape despite being incredibly delicate. It is also worth noting, I have little control over the colour of the lint; this is determined by the contents of the wash - it mostly comes out a slushy grey. This control is something I am interested in challenging, perhaps drying items that share the same colour will produce lint in that particular colour. I have a pair of cheaply dyed red jeans that I am hoping will produce some red tinted lint.

Hairs easily become embedded in the material. Lint is very good at attracting and collecting bodily fibres. I am drawn to the way the material traps organic matter, in particular human hair. The way the material clings to such matter gives it a sense of life and narrative; lint acts like a book or record of all the bodies it has touched and protected.

I plan to collect a large amount and create a large scale sculpture or even transform a part of the studio into a lint installation. An installation would perhaps over time accumulate hair and airborne fibres, turning the artwork into something that breathes and grows.

I must think about how I will build such a space and what processes I will use to allow a larger lint structure made of many joined pieces to hold shape, without detracting from the beauty of the material's original form and aesthetic. I must also consider how the nature of the material might determine whether or not this piece is a temporary assemblage or a transportable sculpture.