I originally wanted to make this piece a commentary on funny neighbors and putting up a "nice" but visible fence-like structure. However, the process of making the yarn fence had a different effect on my idea. I was physically walking with the piece as I was wrapping the yarn around the trees and carrying it some distance to the next tree. I had to repeat this motion constantly, and it became a sort of meditation. At that point I did not want to keep thinking about creating a barrier between our house and the neighbors'; it felt too negative in a sense.
I feel the process was an important part of this piece. It took longer than I thought to wind and wrap the fabric and yarn. I also had to finagle my body a lot to work in between what I had already made. The act of making this piece sort of reminded me of Richard Long's pieces in that I was both forming and walking a line with the yarn. In Overlay, Lippard talks of the "impulse toward constant movement" as "one more confrontation of that tension, inherent in modern life and art, between the ephemeral and the permanent" (122). I feel this statement relates to my piece as the process involved movement by walking, while also it became an exploration and comparison of the permanent to the temporal. The yarn is an element that I added that is not permanent but only temporary proof of the process and what I created, whereas the trees that support the structure can be said to encompass the permanent.