Approaching wire

I’ve been circling around, making different starts with wire, seeing what might come together.

Egg head

Ages ago (last year?) in a drawing class, tutor Sue Vesely brought hard boiled eggs marked up to show various angles and spacing of the human head. I’ve since made a version of my own, using Sue’s notes and a toy (rubber?) egg. Could I make these shapes and lines using wire and random weave basketry techniques?

It turned out I couldn’t. Nothing to show – it was quickly dismantled, cut up, reused…

… some of it into this face.

Which also doesn’t particularly thrill me. Clumsy lines, not the right selection of which lines to include. This weight of steel (construction wire, annealed steel, 1.57 mm diameter, 16 gauge) was difficult to work with at this scale (slightly less than life).

Not a dead end, but not an enticing path for now.

Another experiment using broken ceramic and wire in random weave also didn’t quite work for me in its first form.


The same steel wire, smoothed and drilled fragments from a cup and saucer, random weave.
The blu-tac is to hold bits in place until I could stabilise placement. Each shard has 3 holes, which I thought would allow enough connections to create a stable non-vessel.

Once again the gauge of the wire, its stiffness when working, caused me grief. When bending wire I was constantly at risk of breaking ceramic, and without sufficiently bending the wire to hold them the pieces kept sliding around.

More recently I’ve been introduced to galvanised steel wire. Lots of different gauges in the hardware store, doesn’t rust (although the shine wouldn’t suit all purposes), not a good choice for jewellery, but a great new option in this kind of work. The old 16 gauge wire has been cut off and new work begun. It’s going reasonably well, but needs to progress before any more photos.

More of the same 16 gauge wire and the ceramic, and still not satisfied with the various possibilities I’ve generated so far. The proportions of the ceramic and wire elements isn’t pleasing. The curve of the wire (from my new dapping set) doesn’t sit well with the different curves of the ceramic pieces. Beads of different sizes have been trialled at different positions, and then the earrings get too long.

I’m really not in a grouchy mood and I don’t think the inner critic is getting out of control. There are possibilities here, just so far none I would wear. It will come.

Now some happy snaps. My friend Claire and I got together for a day of dipping wire in paper pulp. Neither of us had previous experience, so it was all free experimentation. Claire brought the pulp – made from waste cardstock. We both had different types of mesh and wire. There’s more detail and process shots on Claire’s blog – https://tactualtextiles.wordpress.com/2017/08/07/paper-pulp-dipping/.

Here are some of my results.


Above: the pulp built up well on bird wire mesh. On the left is the form as dipped. When dry I was able to change the form, the paper remaining attached.

Above: two views of a form created before the mesh was dipped. A much firmer and sharper end result (compared to re-shaping a dipped piece).

Above: two more vessel forms, quickly random woven together using galvanised wire. I’d like to try this again with more preparation time, creating smaller spaces that the pulp would span better. It tended to slide off these.

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Above: a range of forms, wire and an offcut of bird mesh. The pulp held better on the smaller spaces.

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Above: the “flower” wouldn’t hold the shape. Some extra fine wire across the leaf helped marginally. The two views of a single “earring” show the impact of lighting on this material.

Above: the two sides of a piece of copper mesh that I had distorted.

Above: more mesh and pulp experiments. Love the combination of copper and the warm cream of the paper.

There’s lots of promise in these results. Some lessons learnt, some really nice effects. I’m hoping Claire and I can arrange another day – with enough lead time for more preparation. Maybe a series of days (or in summer??), so we can let things dry between dippings.

Finally, some first steps following Keith Lo Bue’s Poetry in Motion DVD workshop – http://www.keithlobue.com/product/poetry-in-motion-making-marvelous-mobiles-dvd-workshop-set.

This is what led me to galvanised wire, opening various doors as mentioned above. I’ve worked through the first couple of exercises, and am feeling excited and inspired.

First up was a clever way to straighten wire, plus practice in creating precise shapes and angles. I think a series of these piled up has much more promise of an interesting and dynamic composition than my earlier attempts at wire lines at the top of this post.

Next was an exercise learning to find and fix balance points. Back to 16 gauge wire (galvanised this time), plus corks.


Above: my very first mobile, in two variations. On the left, a flat, horizontal form that spreads out in space. On the right, a simple change in the orientation of one looped end changes the form to a broken straight line, descending in space.

I can see potential for a number of the approaches above to combine into a fruitful line of investigation – even those that left me cold as stand-alones. It’s the end of the weekend, work tomorrow, but I’m rubbing my hands in anticipation.

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Goodyer girls long weekend in Hobart

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