I’m heading away next weekend, and the looming deadline of 30 July has been sitting heavily on my shoulders. I leave tomorrow and won’t be back until the 29th, which makes things feel uncomfortably tight. The timing is far from ideal, and I’ve been feeling the pressure to get the piece finished before I go.
Still, I’ve been pushing on in the studio, working with the elements Doug responded to and developing a few different directions from them. It’s a strange balance—trying to stay focused while also battling the urge to scrap everything and start again. I get restless working on the same piece for too long. There’s always that temptation to abandon it and chase something new.
One thing I forgot to mention earlier: I stumbled across the Met Museum’s public domain image library, and it’s been a total gift. I’ve found some brilliant extras there—rich textures, classical imagery, unexpected details—and printed off a selection to add to the mix. It’s opened up new possibilities and given me more to play with visually.
Given the time crunch, I reached out to Doug to ask if there’s any flexibility with the deadline. Thankfully, there is. The release date is being pushed back, which means I’ve got a bit more breathing room. That news was a huge relief—it makes going away feel less like a risk and more like a reset.
I’ve also sent Doug the next round of images. I document everything obsessively on my iPhone—each stage, each variation. Since I haven’t glued anything down yet, the photos are my memory. They’re the only way to keep track of what’s working and what’s worth revisiting. It’s a delicate dance between chaos and control, and right now, the photos are holding it all together.
Recolletc - Sian Pointon 