Not exactly a message in a bottle but this pot came from the Clyde Quay Marina, which is considered the historic part of Wellington Harbour. It has a wonderful history of sailing vessels and Launches dating back to 1904. The creation of this Harbour by the Wellington Harbour Board, formed an ideal small boat anchorage close to the city. The iconic boat sheds were added around 1909, constructed on reclaim land in sections. Also the Harbour was occupied by the American Navy during World War II.
The pot was found in April 2016 when a commercial diver, now my boyfriend was inspecting a mooring in the marina and always takes the opportunity to look around for objects and treasures.
Despite being full of black, smelly mud I was very happy to receive it as a gift at the time.
The pot cleaned up surprisingly well which indicates a good quality glaze as there was no damage, cracks or crazing. The design is hand painted very well.
The only indication that it has spent some time on the sea bed is the underside of the pot, where it has no glaze has a few marks from the encrustations and barnacles that were mechanically removed. The rest, along with the rust staining cleaned off with warm soapy water.
I researched the style and the red stamp on the bottom and only learned that it is a "Brush Pot" although I have no indication of age or manufacture - how it ended up at the bottom of the marina and for how long, is anyone's guess but I am happy to use it again for brushes in my studio.
A friend brought me a wonderful poster, she had seen it while in Warsaw pasted to a wall, and passing it on another day she noticed it had some new graffiti, and then again, ripped off the wall and left on the ground.
The short history of this protest poster’s display, with regard to protest and then support appealed to her and she removed what was left from the wall, folded it up and brought it home to New Zealand as a memento of her travels.
The poster was brought to me in a folded format and in four pieces, and with it the backing remnants of many previous posters that had been pasted in the same spot. Therefore the paper was thick with aged glue and many layers of paper.
After discussions on what was important to keep, the primary poster and what the owner wanted, which was to conserve but celebrate the history by not making the tears (scars) completely invisible, I began a wet treatment that helped remove the many layers of paper on the verso (back of the work).
Making the most of the poster being aqueously treated I lined the work onto a backing of four overlapped sheets of Japanese tissue using a mix of wheat starch paste and methyl cellulose which would aid slipping or the desired movement of the poster to align the pieces back together, like a puzzle. The work was left to tension dry on my work bench, similar to using a Kari Bari board (Japanese dying board used to line silk and paper)
Bloodymir was once again ready for display, with all his history.
Framed and photographed by owner.