T1-MMT-P5-s3 Initial resin drizzle samples

In my Review wrapup (26-Jan-2016) I identified a number of initial sampling ideas.

I set up those and even more for my first work session, leading to my first failure. The resin had settled into soft crystals. With lots of stirring I was able to get some out of the container, then lots more stirring with the hardener to mix thoroughly. While brushing and dribbling I began to notice the resin warming, then suddenly it was semi-solid and smoking hot – too hot to touch in my nitrile gloves. So I have a lump of semi-cured resin and a number of samples still in progress. Lesson learnt – I’ll have to accept that this process needs time and small batches.

Results so far:

Sample p5-1 Resin on polymorph

Sample p5-1

Sample p3-3 was brushed with resin. Most dripped off and I have not been able to remove the thin film of resin that remains. The surface is now glossy, but I can’t see any advantage of combining the two materials.

Possibly I should try again with a barrier at the edges to ensure a thicker resin sheet which might be easier to separate, but I don’t currently see this as a strong contender for development.

Sample p5-2 Resin on composimold
This sample was based on the idea of columns of vessels with a corrugated surface (sketchpage 024 18-Jan-2016). Composimold was poured onto a plastic sheet with corrugations (in past life packaging for a set of pencils). It was rolled and slid into a cardboard tube to hold the column shape. The tube was held at an angle in a bowl and resin was dribbled in.

Sample p5-2 in progress
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Given the heat generated by the resin I expected the composimold to melt into a lump. However the next day it appeared intact and I was able to peel off the cardboard tube.

The resin came away easily. Composimold is a good candidate for creating molds in future samples. However having been placed on an angle most of the resin had simple run through and only a thin film was left.

Sample p5-2

In this photograph I’ve left the resin partly on the mold, and the combination of materials creates an exciting combination of shape, texture and reflective properties. Soon after the materials relaxed and they now lie flat. However it is clear that there is a lot of potential here. This is a combination of materials and form that I would like to take further.

Sample p5-3 Resin on crumpled paper
This sample started with print p4-32, reshaped into a bowl form. The form was placed in a plastic bowl to help retain shape during resin application. Resin was poured and brushed on.

Sample p5-3 with internal lighting

In the photograph above a small LED has been placed in the bowl. When exploring all of the samples in this post I was aware of reflections of light. I would love to see all of them in good gallery lighting, which would really bring out the sparkle of the faceted surfaces.

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The bowl is around 16 cm in diameter and 10 cm at its highest. It is light but quite stiff. The resin will continue curing and gaining strength over the next few days, so I haven’t put a lot of pressure on it.

I think this result is delightful. There is potential to go back to all the crumpling techniques and printing techniques to create a series of vessels in different shapes and sizes.

Perhaps it could be a way to record and develop shapes such as those created during the casting project.

Liu Jianhua Container Series detail
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Peering into the centre reminds me of Liu Jianhua’s ceramic series (30-Jan-2016). A low display, perhaps with some taller vessels and playing with reflections, could be effective.

Sample p5-4 Resin over heat distorted fabric

Sample p3-46 detail
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This sample was intended as a development of p3-46. The shape was based on a vessel of enameled copper by June Schwarcz (https://enamelguild.org/june-schwarcz/, sketchbook page and research yet to be posted).

Sample p5-4 sewn
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I began with some roughly cut triangles of crystal organza, pinned together to make a tube. I wanted some sparks of colour, so included two orange pieces amongst the grey. One of my development plans was to use more of the plastic horsetail, leading to a decision to sew in black thread, then oversew some seams to capture the plastic threads.

At this stage I was doubting my taste level, but I’ve written recently of the feeling of daring myself. This is the piece I referred to in my reflection on tutor feedback (28-Jan-2016). I kept going, wanting to learn as much as possible from unpromising beginnings – and just maybe there would be a surprise.

Sample p5-4 heat distorted
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Holes appeared almost immediately when using a heat gun. This aligns with earlier experiments – if the fabric can’t shrink and distort, holes appear. In the current sample the stitching held firm and put pressure on the fabric.

I suspended the shape and brushed and dribbled resin over it.

Sample p5-4

Sample p5-4 top view
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The final result is stiff and sits stably on the worksurface. The main part is 7 to 8 cm high, the plastic spikes rise to 20 cm.

I find it intriguing. It bothers me. It’s ugly and misshapen and awkward, but… The overall shape is dynamic. It claims space in a way that I find effective. There are the seeds of something that could work for me. If I don’t look at the detail, or only the right detail, it’s exciting.

Sample p5-5 Resin over woven black plastic

Sample p2-57 detail
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Sample p2-41 b
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This sample evolved as I was working on it. First it was going to be a bowl based on sample p2-57. I couldn’t find the bundles of yarns used then, so decided to substitute plastic horsehair. I was thinking something smooth and elegant.

I wanted to shape the braid over a form – a balloon. The plastic was very difficult to work with and I just couldn’t manage it. So I decided to switch to basket weaving. There would be challenges with the fairly short lengths of plastic, but that could lead to spiky shards, as seen in early sketchbook work (sketchpage 005, 10-Jan-2016).

Sample p5-5 in progress
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It was a struggle. There were loose ends everywhere, everything sliding around. I had little to no control over the shape, which could be an issue if developing the sample. A sensible approach could be to combine with another material, but I really wanted the initial sample to be a “pure” exploration of my material of choice.

The final form was fragile. Individual threads could slide around and it seemed at any moment the entire thing could fall apart. However I was able to suspend it from three of the base groups of threads, and paint it with resin. The process was slow, and it was during this that the resin heated and smoked.

Sample p5-5 detail

Sample p5-5
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My photographs don’t do the sample justice. There are droplets of resin of various sizes all over it and they sparkle catching strong light. It casts wonderful shadows. There is an airiness and light to the structure.

The form is around 60 cm wide, but a couple of outstretching threads take it to 90 cm wide. The rim of the bowl sits 5 or 6 cm above the work surface.

If I can learn to work with the material there is huge potential here. I need to work on my lighting and photography to communicate this.

I feel I’ve learnt a lot from this first set of samples. My resin handling is already improving. I need to work on my lighting and photography. One or two of the samples could be included as they stand in my collection. Sample p5-4 looks much better in combination with p5-5. It starts to become an interesting variation rather than just an isolated oddity.

T1-MMT-P5-s3 Initial resin drizzle samples
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Stage 3: Sample-making
Initial resin drizzle samples