Process & Series
In 2014, I was beachcombing and became enthralled with the bits of marine debris and fishing line that I found. I started collecting the bits and using it in my work. I use the line as paint, the natural colors becoming muted landscape and abstract two dimensional works, but still retaining the fibrous aspect of the material. After months of experimentation with the different types of line and their properties, I learned my favorite to work with was Longline, which is quite abundant when collected directly from the fisherman after it becomes too worn for them to use. The local longline only comes in basic natural rope tones (except for the gangions, which is the thinner line through which the hook and bait are attached to the main line), so I decided to begin dying the line.
By the looped end where the hook once was, the color fluctuates and becomes a burnt orange. This is a natural discoloration created by rusting. I un-knot each hook so the gangion loop is undisturbed. After I wash and dye the line, much of the rust mottling remains. I use fabric dyes to process the color, and some of the line I leave half in the vats of dye to create color fluctuations, while I wrap some in balls before dying, to keep certain spots devoid of color and others extra saturated.
After the line is dry, and sorted, I choose which taxidermy form I will be using and begin to map out the fur pattern. The pieces which have a cutaway at the neckline are mapped to be highly anatomically correct. (The cutaway of the neck of each animal is frequently mimicked by the raw cutaway of the wood. This reveals what is under the ‘skin’ or ‘façade’.) For this I use MRI images from veterinary manuals as a guide. The line is then cut to length and adhered with high temperature glue.
The titles of the work are a reference to the fishing grounds in and around George’s Bank where the fishing gear had been previously used.
Contact & Bio
An ardent environmentalist, Gin Stone moved to Cape Cod from New York City and currently utilizes retired local commercial longline fishing gear; cutting, hand dying and re-piecing it to create her work. Entitled Cabinet of Curiosity, this body of work comprises three dimensional full size taxidermy pieces created from the gear and line.