They were based in a few ideas – returning to the corrugated surface I found effective in earlier samples in the course; returning more closely to the casting of the internal space of vessels as in Assignment 3 (I’ve felt at risk of venturing too far from the basic course parameters); and bringing together my main materials – resin, plaster and the orange organza.
Sample p5-11

Sample p5-11
The shape gently undulates, emphasised by the ridges of the corrugation which respond to lighting with gentle shadows. The colour and form are calm, solid.
The shape is quite compact, standing around 10 cm high. I find its proportions satisfying and it attracts the eye and the touch. I regard this as a very successful sample. It is also useful in the collection, being less aggressively showy than some other vessels but with a lot of its own quiet character. Its movement is within clear boundaries, providing a solidity and stability.
Sample p5-12

Sample p5-12 – two views
I was very tempted to stop with the sample in this form. It created an interesting contrast to p5-11 and I found it visually appealing. The idea of potentially ruining it was unattractive.
However this course is all about risk and I continued.
The vessel was returned to the mold, but this time held upright rather than at an angle. A large piece of orange crystal organza was heat distorted. It was then soaked in liquid resin and pressed onto the plaster in the mold.
There are some technical issues in the outcome. I didn’t push the plaster vessel firmly into the mold and a rather odd foot of resin formed. It’s only attached along a small part of the edge, and it’s not clear how stable and long-lasting it will be. The bottom of the cardboard roll and inner plastic set firmly in the resin. I was able to cut away most, but the bottom of the void is unsightly. I would prefer more dribbles of resin down the sides of the plaster. I find the uneven patterning unattractive. On its own the form is much more static than the other pieces in the collection.
Its strength lies in combination.

Samples p5-4 p5-11 and p5-12

Sample p5-13

Sample p5-13
So much planning and effort went into p5-12, virtually none into p5-13, but in the context of the collection the result is wonderful. I’m really looking forward to mixing it in with the group. It’s lively, unexpected, fascinating, exciting, energetic.
There’s been a lot going on lately and I’m feeling behind in posting, losing the chronology, with topics influencing each other. As a reminder to self:
* Ruth Hadlow workshop
* Gillian Lowndes research
* Grayson Perry exhibition
* Recent sketching
* Sorting
To whet your (and my) appetite, some quick shots of my work area. You will no doubt appreciate, as I do, the extensive tidying up that happened yesterday.
T1-MMT-P5-s3 Final vessel samples
Textiles 1 – Mixed Media for Textiles
Part 5: A final piece
Stage 3: Sample-making
Final vessel samples