Part 5 of the course brings together everything learnt so far, consolidating the good work processes developed. The nature of the final outcome is left open – single or multiple pieces, combining methods and materials, remaining experimental. I’m asked to start by going back to the beginning, reviewing samples and learning blog, looking for materials, techniques and ideas to explore further.
A collection of vessels
That’s my first choice in thinking / reviewing / researching. A Collection – composition of groups of items has been a recurring interest through the course. Vessels – a slight narrowing of focus from the universe of all objects. Vessels provide a boundary between inside and outside. It’s a starting point, open enough for all sorts of exploration.
www.pinterest.com/fibresofbeing/vessels/ is a new board with images from my research and also my own samples – after all they are are part of my research for this new collection.
At the end of assignment 4 I was very aware of going backwards in my sketchbook, so I’m starting with an experimental tweak to my work process. I’ve always used separate sheets stored in a “sketch box”. It gave flexibility of media plus the selection of a sample of work for mailing to tutor and assessors. Now I’m building a sketchbook as I go. Signatures are two sheets of A2 paper, folded to A3. I can sew and bind at the end – no blank pages to add weight and bulk, accommodating any extra or bulky materials at the same time. I’m hoping this will provide a framework for more consistent effort. I also want to experience leafing through a physical book, following progression, checking back on earlier ideas. How much effect will this have on my work?
This week I’ve focused on reviewing work from Parts 1 and 2 of the course, looking for material relevant to a collection of vessels, or to an alternate project idea. Annotated images of all sketchbook pages to date are included below. It’s a jumble of ideas rather than a flowing narrative – I see that as the point of this part of the process, generating lots of options. I’ve extracted a few specifics as an overview.
Properties to consider:
Scale
Shape
Decoration
Texture – reflections, surface, interior.
Inside / outside
Cast and recast (from print sample)
Variety / relationships. Use resin (or other), or shape or … as the link between elements?
Inclusions – plastic, plaster…
Materials whose properties combine/interact/change
Potential themes, alternatives (my current inclination is to follow the materials, but it’s too soon to be definitive):
Fragility ==> broken vessels; news(print) that is overtaken by events; trapped in amber
Traces, memories, shadows
Boundaries, order|chaos, transition
Recording disintegration
The space between (link to boundaries)
A captured moment (in amber/resin; or something broken…)
Escape
Empty vessels – a container for viewers’ thoughts or memories
A puzzle for the viewer. Get them to ask questions. Engage.
Use/suggest gravity. Impossible balance?
Materials and techniques:
Do I want a clear textile link?
Spikes and protrusions
Heat-treated fabric
Heat shrunk plastic
Bundles of hessian, maybe gathered with 3D pen. Stabilised with resin? Partially?
Polymorph – as vessel or as mold or inclusion.
Resin with all sorts of inclusions
Plaster
Composimold
How do my favourite new materials interact???
There are also ideas for presentation, research and sketchbook techniques. I will blog about specifics a work progresses.

p5-sketchpage 001; 20160103

p5-sketchpage 002; 20160104

p5-sketchpage 003; 20160104

p5-sketchpage 004; 20160104

p5-sketchpage 005; 20160104

p5-sketchpage 006; 20160105

p5-sketchpage 007; 20160106
I was thinking about Morandi’s still-life paintings, the same shapes appearing again and again in different configurations, sometimes grouped very tightly. (A post about still-life including this example 31-Jan-2014.) That’s probably the origin of the orange used here as well.
I find this variant quite satisfying, with some interesting negative space beginning to develop. Overlap is limited – how much do I want a conversation between elements versus creating a new whole? It’s very flat, with no indication of a surface to sit on.

p5-sketchpage 008; 20160107
Polymorph could be coloured and molded into vessel shapes (21-Apr-2015). Could it be used to create molds or inserts for other materials (resin or plaster)?

p5-sketchpage 009; 20160107
Still a lot of focus on negative shapes. A much tighter grouping. There’s enough consistency and variation to provide interest and cohesion. The turquoise and silver is a classic colour combination that works well. I like this result.

p5-sketchpage 010; 20160108
Shadows and lighting are very important in my presentation. Sample p2-28 (27-Jun-2015) brought in light, ideas of transparency. Both materials were used later with resin. What could be done? I have thoughts of using carefully applied heat to shape a vessel, then trap/preserve/capture in resin. I note my ideas turn more and more to resin – I want to be careful not to make assumptions or close doors too soon.

p5-sketchpage 011; 20160108

p5-sketchpage 012; 20160109

p5-sketchpage 013; 20160109


p5-sketchpage 014; 20160109

p5-sketchpage 015; 20160109
T1-MMT-P5-s1 Review – A beginning
Part 5: A final piece
Stage 1: Review
A beginning
The ‘horsehair’ generates real energy wherever you use it. I love p2-41 b and also hope the wrapped/broken vessels from July make an appearance in your ideas development. Some real gems in your notes here – ‘amber’ and resin caught my attention.
I feel I’ve got enough ideas to feed the next decade! So many things I really want to take forward. It’s going to be a wrench, editing out some favourites, but there’s a real risk of dog’s breakfast.
Looking forward to where you’ll take this. It’s great to see the range from which you are going to springboard your ideas. Good to be back in 3D?
So, so good to be back. I want to work with space – just typing that made me feel energised and eager.