Research
I began my research by looking at the suggested products, some I was more familiar with than others. I wanted use a mixture of familiar and the new materials to experiment with. Combining this with my research of artists such as Victoria Ferrand Scott, Eduardo Paolozzi, and Rachel Whiteread. The pieces that stood out to me the most where:
Victoria Ferrand Scott
What drew me to Victoria Scotts work was natural flowing lines. There is something about the pieces that makes me want to run my hands across the smooth cold plaster.
Her use of casting is inspiring, I could imagine recreating her piece called 'Restraint' by using the bottom of a bottle of fizzy drinks to cast in. This piece brings to mind an item being bound and restrained with yarn. In fact this would work it a balloon filled with plaster and yarn being wrapped and crossed over balloon.
There are so many bits to look at you get lost in the face, leaving me want to explore every angle. I went from not liking the piece to wanting to see more.
I wonder did he start with the piece and then created the face. Or did he have the face and created shapes out of it? Perhaps this is something I could experiment with in the future?
Project 1: Moulding from a surface
After using the plaster of paris, it got me thinking I wonder if I could produce a similar effect to the plaster of Paris with candle wax.
The answer was yes I could! The lines were a lot cleaner and sharper appearance was lift on the castings. It was also less fragile than the plaster of paris. The drying time was probably equal to the plaster.
The only trouble I had was capturing texture as you can see from the pictures. Everything stuck to the wax like the plaster. To avoid that happening in future I would have to look at making a casting in clay or silicone to cast from.
The other negative is the smooth samples remind me of a bar of soap. Maybe I could look at adding something into the wax, like nuts and bolts or string. To break up the solidness to the pieces.
Liquid latex was the next material I wanted to explore. Only having a little tube meant I was restricted to The size of the sample.
I wanted to capture texture with the latex so chose items I felt would create interesting textures. Choosing orange skin, pinecone, and bubble wrap.
The thinner I spread the latex the quicker it dried. Peeling the latex off it looked promising but as it dried further the texture got lost and it ended up looking like dried up shedded snake skin.
Perhaps I needed to be larger and thicker. Or perhaps I had the wrong sort of latex? Maybe this is something I could revisit?
For
some of these ideas I used the work in part 2 for inspiration and the for some
I used the work in part 3 to see how I could make them work for some of the
pieces from part 2. Using my sketchbook to jot down my thoughts and ideas.
My
first piece I did the latter, I loved my ‘happy accident’. I wondered first of
all if I could recreate the piece again. Which I can tell you was more
difficult than I’d hoped for.
First
trying to paint it on with a brush but on cling film. The cling film went all
over the place with the paint brush. So I abandoned that idea and went for my
hands opting for a thicker consistency, which meant it help in place easier and
I was hoping being thicker it would be less fragile.
Leaving
it until it was fully dry and then carefully peeling it away from the edge of
the jug and cling film. I then moved onto the second piece. All was going well
until I left one piece on the side and it somehow got broke. Frustrating as it
was it made we redevelop my initial idea.
Using
a small sharp pin to slowly twist into the edges of the plaster creating tiny
holes to weave the wire through. Instead of 2 pieces I now had 3 to connect.
Connecting them all together to make one piece.
It
reminded me of a broken piece of pottery trying to mend the shattered piece. It
reminded me of the Japanese art called Kintsugi.
This
piece could be really good increases in size. And using more exploring
more interesting
yarns to connect the broken piece. Each piece would be unique as it would be
difficult to replicate each stroke/placing of the plaster.
I began
by collecting a variety of tubing from the local hardware store. I had the idea
to fill the tubes and then cut them open to reveal a solid tube. As you can see
from what actually came out of the tubes this was not what happened. I ended up
with crumbling sticks of chalk!
It was
ok as I had a back up plan. Using bandages soaked in a more watery plaster,
recreating something similar to the plaster you’d put around a broken arm. Then
laying lengths of doweling in a tub. Using varying widths and wrapping them in
cling film, hoping the lengths of bandages wouldn’t stick.
Moulding
them around each stick to create hilly ups and downs. It took a lot longer to
dry than I’d anticipated. But this was due to the wetter material.
Once I
had created 3 layers of varying styles, I then set about stacking them working
out which ways I preferred to display them.
If I
was to recreate the piece again I would like to try it with the actual material
used to make casts for broken bones. I’d like to explore if that would create a
different surface. I would like to have seen a neater finish to each
layer.
I
had lots of ideas for this exercise and could have gone on to do many more
samples.
I
started by gathering different vessels I could use, piping bags, sandwich bags
and balloons. I also originally wanted to use plaster again and began filling
vessels. I also wanted to have them hanging so not to leave a flat area. So
getting creative with string and bulldog clips. Using the window handle to hang
the vessels off.
I used Victoria Scotts work as my inspiration to develop my ideas for this exercise. My aim was to produce organic curves within the moulding material. Like her Restraint work, as looked in my research.
Well
it was good in principle but as I had to make the plaster a pouring consistency
to fill the vessels. This meant that after 24hrs it was still not set. Even the
smaller balloon vessels. I drew a line under the plaster idea and came up with
a backup idea.
One
thing I’ll take away from the plaster activity was that the balloons were the
more practical vessels to use. This time the material I chose to work with was
the wax again. This was in the hope that it would dry faster than plaster and
at least I knew it would have to dry eventually.
So the
most difficult part was pouring the hot wax into the balloon. Trying to hold
the balloon open and pour the jug without over spilling. The frustrating thing
was the lack of expansion in the balloon. I tried blowing it before filling it
to make it easier to stretch. But this didn’t make much of a difference. Anyway
I continued on with a very slippery balloon and trying to wrap a mixture of
items around them.
Elastic
bands-
Unwrapping
the balloon I found an air bubble had created a flat surface with the moulded
wax. This made the moulding remind me of a sea shell. It’s a bit like when you
look at the clouds and try to make out images in them.
Wire-
Beads-
Chain- The chain worked similar to the string of beads. I think due to the chain being larger and longer in length. This meant that it didn't bunch up as much as the previous materials, so instead of creating bulbous shapes it created a long and narrow shape. With texture left throughout the length of the mould.
Wood- Moving away from the wrapping technique, taking four wooden rods and placing them around the wax filled balloon and securing them in place with elastic bands. Creating a sharper texture and a lot more accurate than the wrapping method. Other sized poles and shapes.
Spiky mat- This got me thinking into what other things I could use with this technique. I found one of my daughters textured mats covered with little plastic spikes and secured it around the balloon. Although it created a subtle texture, it wasn’t the statement piece I hoped it would be.
I like
the unknown part to the task although you know what you are using you never
know what the outcome might end up to be. It would also be difficult to
reproduce each piece, with each one being so unique. Yet all six pieces work well as a set of interesting textured pieces. They make a good starting point to explore different materials, vessels and size.
I was curious before starting, as a
lot of the materials I hadn’t used previously. Also wondered how I would be
able to incorporate textiles into the hard materials. You automatically think
of textiles as soft and flowy a stark contrast to firm, rigid materials used
for casting. So, I’d say no it wasn’t as I’d expected. I didn’t think of the possibilities
and what can be achieved.
Were you more comfortable using a particular casting material?
Now I thought I would be saying that plaster was my preferred material to cast with but on reflection I actually think the papercrete was easier to work with. It felt more controlled being able to press and mould into the shape I wanted. As the material took longer to dry and harden it meant that I had to manipulate the papercrete. On the downside because it took so long to dry it meant that I had to wait a couple of days to see how the casting had come out.
Did you discover something new? Has it led to ideas for further sample-making?
This exercise has opened a whole new avenue to explore within my work. A new selection of skills and materials, I found that I could combine material such as the resin and the wool. The bandages and plaster also presented future avenues to follow.
What are the qualities and characteristics of the samples you’ve made?
Although the materials are firm and rigid, it was interesting to see the flowing shapes that could be achieved from a naturally rigid material. I have achieved a selection of interesting samples which are tactile and aesthetically pleasing. You want to pick them up, look at them and inspect them. Seeing all the little imperfections which adds character to the samples and makes them unique.
What have you learnt from your contextual research and how did it inform your sampling?
The artists I chose to research and
in fact even the ones I chose not to delve further into, made me realise how
thought provoking their work was. Some of the simple pieces like Victoria
Scotts work, it doesn’t have to be a replica of what it’s trying to portray. It’s
the slight angles and shapes that get your mind thinking about what story is it
trying to tell.
Whereas on the other hand you had artists such as Rachel Whiteread house piece. You can clearly see what it is but wonder why she decided to create it and what does represent.
How do the processes you’ve used relate to or change view of textiles?
I feel the process throughout this unit has got me thinking about how I can adapt some of my more traditional ideas and take them into a more interesting place. Mixing the unconventional with the conventional, it has made me wonder what the limits could be. Could I use some old techniques and combine them with a modern material like some of the plastics. Or use a soft material like silk and combine it with a material concrete, pulling polar opposites together to create new and interesting unions.
How well have you used drawing and your sketchbook to
document and develop your samples? Has colour played a significant role in your
drawings?
I have felt confident using sketchbook throughout MMT whether it is to log my ideas or interesting outcomes from the samples created. After feedback from my tutor I looked at using different sizes papers to record my sketches which I did during this unit. I have also included colour into my sketches, my aim is to use more colour in my work, samples and sketches.
In what ways could improve your approach to the projects to help you develop more successful, varied or pleasing samples?
I think I could improve my approach to each project by being experimental. Exploring new products, pushing myself out of my comfort zone. Allow myself to make mistakes and accepting things don't have to be perfect. Actually the happy accidents are usually some of my favourite samples.
How has your approach to research improved throughout the course?
I started out thinking research was about finding out about the artist and their history. But soon discovered it was about observing their works, the materials used, colours and size. Not just what I liked but also what I didn't like and being able to put that into words.
Could you be more tenacious when confronted by errors or samples that you don’t like?
Demonstration of technical and visual skills – materials,
techniques, observational skills, visual awareness, design and compositional
skill (40%).
I happy with the technical and visual
techniques used in this assignment. Using new materials and techniques being
experimental. Using previous samples and observing their qualities and which
ones develop further.
Quality of outcome –
content, application of knowledge, presentation of work in a coherent manner,
discernment, conceptualisation of thoughts, communication of ideas (20%).
I am
happy with the outcome of my samples. Understanding the way is the material
work and how they can be presented. Being able to create interesting ideas from
sketches into actual casts and moulds.
Demonstration of creativity
– experimentation, invention, development of a personal voice (20%).
I feel
I have demonstrated creativity enjoying being experimental with idea and
materials. Coming up with innovative ideas for casting techniques and thinking creatively on how to
create texture in my work and how bring colour into my work.
Context – reflection,
research, critical thinking (20%).
I
found research was key in this assignment. There were materials I had never
used before or thought about using before. Taking time to look into them and
artists that included them in their work. Helping to get the initial ideas
going.
Then
going back on those ideas a reflecting on what had gone well, or could have
been even better and noting those thoughts. And then reviewing which ideas
could be developed further.
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