Archive for the 'MMT 3 – Research' Category

T1-MMT-P3-p1 Sketchbook, refocus

At the end of my last post there were so many ideas bubbling around. Impossible to follow every path – I wanted to spend my available time carefully. So I stepped away a moment.

Sample p2-18

Sample p2-18

In her recent feedback my tutor mentioned Henry Moore and Anthony Caro when commenting on sample p2-18. I did some research on Moore during Understanding Western Art (15-December-2013, 22-June-2014, and briefly 13-July-2014)). Some points noted then that could be relevant: Moore’s interest in working with volumes and forms, drapery used to create more tension in a work, the space between – a piecing opening or separate elements with the space between as integral a part of the whole as the solid forms.

I’m not familiar with Anthony Caro’s work (although I remember spending a little time with Duccio variations no.7 at the National Gallery of Australia (link)). So I started my sketchbook time by looking at a couple of examples.

sketch 20150903a - looking at Anthony Caro Emma Dipper

sketch 20150903a – looking at Anthony Caro’s Emma Dipper

Sample p2-74

Sample p2-74

Emma Dipper is in The Tate (http://www.tate.org.uk/art/artworks/caro-emma-dipper-t03455). I was taken by a remark in the display caption “The opening to the left creates the sense of an internal space, which is penetrated and activated by the tubes and rods.” I thought of sample p2-74, where I wanted to create, to claim, space.

The sketch above is crayon on A3 kraft paper. It focuses on the internal space of the work rather than the metal. I would love to be able to move around this work, experience it in three dimensions. From this angle it is a wonderful, dynamic shape.

sketch_20150903b - looking at Anthony Caro's Paper sculpture no.4 'Big White'

sketch_20150903b – looking at Anthony Caro’s Paper sculpture no.4 ‘Big White’

The sketch above is based on Paper sculpture no.4 ‘Big White’, held at the National Gallery of Australia (link). The sketch helped me concentrate on observation and is useful as a reminder of that, but is not successful standalone. It is static and flat, the marks clumsy and unvaried.

sketch_20150903f

sketch_20150903f

The base is from a salvaged gift bag, a heavy off-white paper, crushed and highlighted in gold paint. I worked in acrylic paints, a fine black liner, and a little in pastel crayons trying to rescue the image. It was also a good reminder of a technique that would have been helpful in Assignment 1, highlighting the effect of crumpling paper. Inset is a quick version using crumpled brown grocer’s bag paper and diluted gesso.

sketch_20150903c

sketch_20150903c – Collage based on sample p3-9


Sample p3-9

Sample p3-9

Above is a collage on cardboard (A3), using various tissue and other papers and modpodge. It is a scaled-up version of some of the fine marks created by the computer card, such as in sample p3-9 (26-August-2015).
malevich_02The final result reminds me of Kasimir Malevich – House under construction in the National Gallery of Australia (http://artsearch.nga.gov.au/Detail.cfm?IRN=36797), and some sketchbook investigation I did in December 2012 (link).

In the collage there is energy and interest and an overall balance. It is an interpretation, based on observation of the sample but bringing something new.

I originally intended to develop the collage further with higher relief elements, and to use it to take a mold in composimold. Possibly that will happen later.

sketch_20150903d - based on sample p3-12

sketch_20150903d – based on sample p3-12

Sample p3-12 Join failed

Sample p3-12 Join failed

Conte pastel crayons on A3 cartridge paper are a fairly literal observation of sample p3-12 (1-September-2015). The different colours reflect the various shadows created. Fast and free, there is good movement and I think the different natures and weights of the two materials can be seen. Working on it made me more aware of the strong, rigid, geometric structure of the shapes that have been captured in the organic forms of the molds.

sketch_20150903e - manipulation of photo of sample p3-8

sketch_20150903e – manipulation of photo of sample p3-8

Sample p3-8 side detail

Sample p3-8 side detail

Sample p3-8 (26-August-2015) has some wonderful lines and edges. I used gimp to manipulate one of the photographs. A section has been isolated and presented above. There were other areas of interest, but too much wonderful detail was lost if scaled down.

While working on this I have gone back through past sample in Parts 1 and 2. I have a list of possibilities for development of my molding sampling- which I am confident will change as work progresses.

Digressions within digressions
While looking at past posts mentioning Moore I came across my photo of Robert Barnstone’s work once removed (13-June-2014). At that time I was researching recent figure sculptures. Made of cast glass, the work is clearly relevant to my current assignment.

Robert Barnstone once removed  cast glass

Robert Barnstone
once removed
cast glass

There are more photos and lots of other interesting work on Barnstone’s website. The link here is specifically to the once removed information: http://rbarnstone2.wix.com/art-architecture#!once-removed-2014-bondi-/c317. As well as using a relevant technique, the language and content in the written material is interesting given recent tutor feedback. There is descriptive information, background on the meaning of the work, a brief mention of material, and quite a lot of space given to the impact on the viewer. “The feet recall bodies from the past that are connected to the sea or toward us the viewers.” “We feel the figures collectively in a backdrop of dreamscape.” “…raising an awareness in us all of how frail our existence may be.” In this blog / student log “I”, the first person form, is always in use. I write about my reaction and thoughts and leave it open for the reader to have their thoughts. Barnstone has taken a step back as creator and shares the viewers’ experience. There is a confidence in the strength of the work, confidence that it will deliver the intended message, confidence that others share his perspective.

Without getting too lost in the spiral of digressions, a brief mention of the clear areas of similarity between once removed and Susan Benarcik’s installation Loosing Touch with Reality http://susanbenarcik.com/project/loosing-touch-with-reality/. There’s a looser link to Dadang Christanto’s Heads from the North (http://artsearch.nga.gov.au/Detail.cfm?IRN=131001).

T1-MMT-P3-p1 Sketchbook progress
Textiles 1 – Mixed Media for Textiles
Part 3: Molding and casting
Project 1: Molding from a surface
Sketchbook, refocus

T1-MMT-P3 Molding and casting – Artist Research: Victoria Ferrand Scott

Victoria Ferrand Scott

Victoria Ferrand Scott Together

Victoria Ferrand Scott
Together

Victoria Ferrand Scott is primarily a sculptor, but also works in video, drawing, photography, mixed media and more.

ictoria Ferrand Scott Compress and Expand

Victoria Ferrand Scott
Compress and Expand

At first look I found her work in concrete confronting – so visceral, smooth curves and bulges, suggestive. When working at Leeds University as a Leverhulme Trust Artist in Residence ribaldry was a common reaction to one of her experimental forms. On learning more it’s not surprising. Ferrand Scott describes her work as “exploring processes which harness the natural forces of gravity, pressure and elasticity to create sculptures which bulge with their own visceral life.” Flexible containers are created from latex or fabric, filled with liquid concrete, and allowed to hang and and take its unpredictable form, with an occasional reinforcing bar added in potentially weak areas. That description isn’t too far from a sagging human body.

Victoria Ferrand Scott

Victoria Ferrand Scott

Ferrand Scott has shared her exploratory approach in the online process log of her Residency (link). This included an extensive series using different water/cement ratios and various additives in concrete, seeking combinations that gave the properties she required.

Molds were sewn using a variety of textiles. The grain of the fabric, seam treatment and placement of supporting bindings all influenced the final form taken by the casts. In some samples the texture or printing on the textile left impressions, although the print transfer was regarded as a non-permanent effect.

Victoria Ferrand Scott BS Series

Victoria Ferrand Scott
BS Series

In my current course we are encouraged to take risks, to learn from failures and move on. Weight was an issue, particularly when Ferrand Scott moved to larger pieces, and attempts using different aggregates to lighten forms were unsatisfactory. She moved on to the next idea, designing more complex molds with apertures, thus reducing dead weight. This brought its own challenges of structural integrity and placement of reinforcing. It also made a striking change in the forms produced.

In her log Ferrand Scott notes “the first reminds me of Polynesian figurative artefacts, the next has more of an alien character with an extended head and narrow arms. It fascinates me how little is needed in an upright form for it to suggest a standing figure.” An interesting observation in itself, and also an example of an aspect of her approach that attracts me, that accords with my own desire for narrative in a work. All the artworks (as distinct from sampling) are titled. I don’t know when in the process the names were chosen, but many had me looking again at the piece and seeing more in them.

Reading through the material provided by Victoria Ferrand Scott provided links to other sites. A number are no longer active, but I’ve included a few links below to a student workshop and exhibition which has some exciting forms.

In terms of my own exploration, ideas of sewing molds, playing with seams and grain are very enticing. On the other hand I’ve decided that the complexities and choices in working with concrete are too complex for the scale of my current project.

All images reproduced by kind permission of the artist.

Resources

http://www.axisweb.org/p/victoriaferrandscott/ – Artist’s website

http://tinyurl.com/vfscott-AIR – Entry page for Leverhulme Trust Artist in Residence website. Includes a link to Ferrand Scott’s monthly process log.

Other links
http://sites.eca.ed.ac.uk/fabricformedconcrete/exhibitions/the-cast-exhibition/ The Cast Exhibition – in Edinburgh, showing outcomes of a 2 week workshop in 2012 involving architecture, textiles and glass.

https://sites.eca.ed.ac.uk/fabricformedconcrete/workshops/surface-texture-and-light/results/

https://sites.eca.ed.ac.uk/fabricformedconcrete/student-projects/march-0809/

T1-MMT-P3 Molding and casting – Artist Research: Victoria Ferrand Scott
Textiles 1 – Mixed Media for Textiles
Part 3: Molding and casting
Artist Research: Victoria Ferrand Scott

T1-MMT-P3 Molding and casting – Artist Research: Rebecca Fairley

Rebecca Fairley
Rebecca is Textiles Course Leader at OCA, was responsible for the development of the Textiles 1: Mixed Media course I am currently undertaking, and is my tutor. I started this research feeling a little extra pressure, but it’s also become an opportunity to reflect on the overall approach of the course, the what and why of the exercises, and to see Rebecca’s own work almost as an extended response to similar questions. What we’re asked to do – the whole process – in one part of a Level 1 course, is a template that can be scaled up and extended and repeated. I’ve also discovered a bit more about myself. More on that later.

All of the images below are reproduced by kind permission of the artist. Each is linked to the original larger, clearer photographs on Rebecca’s website, http://rebeccamfairley.wix.com/portfolio.

Rebecca Fairley Inspire Project

Rebecca Fairley
Inspire Project

The piece on the left was one outcome of an investigation of surface design possibilities. The form created is a rough lozenge in shape, the depth difficult to gauge but I would guess less than width or breadth. The surface is overall smooth, even polished in appearance in areas. Pockmarks of different sizes are distributed across the surface, occasionally in small clusters. A loose, powdery crust is visible, particularly in the centre of the lozenge and scattered on the surface around the object. A series of creases or small folds reach from the edges towards the centre. A number of depressions can be identified, some circular, some simple dips. A line is etched across the centre from left to right, cutting deeply into the edges.

Above I have described an object, particularly its surface. I don’t know its material or method of construction but it could be plaster or cement put liquid into a plastic bag, tied across the centre and a number of weights placed on top. Little of that was in my thoughts when first viewing the photograph. I thought of a captured moment, like a grey plastic grocery bag blowing empty across the street and almost tangling in my feet as I sat waiting for the bus (part of a longer story from last week, as it happens). I thought about the fragility of all constructs and barriers that we build around ourselves; about thin veneers that crack and reveal; about what we would see it this was dropped and split apart.

Rebecca Fairley Final Degree Show Project 2011

Rebecca Fairley
Final Degree Show Project 2011

This detail appears to show a base surface with a shallow texture resembling leather or perhaps ripples of sand on a beach. There is a sharp transition to a very roughly textured almost crumbly looking crust. Wisps of fibres are caught in the crust. Along the line of the transition are fairly regular perpendicular markings. This area also shows a higher concentration of pocking in the surface. Overall colouring is butter yellow, with blues and terracotta breaking through.

I wonder if the deeper texture and wisps at the top were formed by a textile of some kind placed onto the surface as it set. The more craggy parts could be aggregate appearing through the surface of concrete. Those irregular markings could be stitches or some other way of positioning and holding the textile. Perhaps concrete was cast in a container of knitting stitched to leather. Or something else entirely.

Once again these speculations came second for me. For some reason this photograph made me catch my breath – an immediate, emotional reaction. Delicacy, fragility, scarring, traces? The contrast of warmth and texture in a hard material? I haven’t been able to identify a reason or a story, but each time I look the emotion comes first.

Rebecca Fairley Final Degree Show Project 2011

Rebecca Fairley
Final Degree Show Project 2011

Another example from the same series of work. This time the concrete (?) is grey. From a sharply cornered base a textured dome rises. Fibres are caught in the surface – pale blue, mustard yellow, perhaps some red. The artist’s stated intent in the series was “to experiment and explore the possibilities for the manipulation and control of concrete surfaces”, and her results “broadened the perception of concrete as a decorative surface”.

My reaction is not as strong, but once again my immediate response is emotional, inexplicable – not analytical. I don’t see this as “wrong” – the artist is following her line of enquiry, the viewer brings to the work her own perception and context. However I find the disconnect interesting, and am actually a little irritated by an emotional kneejerk that I can’t explain.

Rebecca Fairley Investigating the Surface Qualities of Concrete through Creative Practice 2013 ​

Rebecca Fairley
Investigating the Surface Qualities of Concrete through Creative Practice 2013 ​

In a later project Rebecca focused on concrete, shaping the surface and trapping materials. This is an example of an inclusion, the smooth, reflective surface and translucence of the embedded material a wonderful contrast to the dense, pocked solidity of the surrounding mass of concrete. The dynamic curving lines remind me of a river cutting its way through a landscape.

I think there could be interesting technical considerations in the creation of this piece. For example heat is liberated as concrete sets and hardens. At what temperature would the inclusion melt (similar to the scorching aspects of Victoria Brown’s work (14-August-2015))? That attractive depth and cratering – is that related to air pockets, shrinkage, other factor(s)? How can this be manipulated?

Side note: My analytical and questioning faculties have returned. I find this piece interesting, aesthetically pleasing, decorative – but my reaction is different to that earlier. Curious.

Rebecca Fairley Investigating the Surface Qualities of Concrete through Creative Practice 2013 ​

Rebecca Fairley
Investigating the Surface Qualities of Concrete through Creative Practice 2013 ​

And it’s back. Subdued but back, that emotional response. In this image it looks like the folds of a fine-knit fabric formed part of the mould for the cast concrete. The surface texture of the (putative) fabric has been captured in great detail in the finished surface, but there is no trace of any actual fibres. The fine and deep texturing causes a range of depth of shadowing, an interest and complexity that attracts the eye and the hand.

Some ideas to take forward to my own exercises: don’t be precious – air pockets, cracks and flakey surfaces can all be attractive elements in a work; I definitely want to experiment with textiles to create surface texture; inclusions can be spread throughout a mix (like aggregate in concrete), or localised (particularly near the surface); mould release agents are a choice, not a necessity.

Finally, I’ve been reminded that both textiles and story-telling are very important to me in ways I find difficult to fathom. I would say that’s part of my personal voice – even when inarticulate.

http://rebeccamfairley.wix.com/portfolio
http://weareoca.com/textiles/new-textiles-leader-says-hello/

T1-MMT-P3 Molding and casting – Artist Research: Rebecca Fairley
Textiles 1 – Mixed Media for Textiles
Part 3: Molding and casting
Artist Research: Rebecca Fairley

T1-MMT-P3 Molding and casting – Artist Research: Meredith Woolnough, Patrick Delorey

Meredith Woolnough

Meredith Woolnough with Scribbly Gum Leaf (2014)

Meredith Woolnough
with Scribbly Gum Leaf (2014)

Meredith Woolnough is a visual artist who captures the beauty of Australian plant-life in a form of free machine embroidery which she describes as “knotted embroidery threads”. I chose the photograph on the left showing Woolnough with one of her works to give a sense of the scale. This piece is 100cm diameter, a delicate tracery with subtle colouring which beautifully interprets the skeleton gum leaves found in leaf litter.

Here the work appears to be mounted directly on the wall. Suspended with pins the shadows created would provide depth, interest and movement in the gallery space.

Meredith Woolnough Orange Nautilus

Meredith Woolnough
Orange Nautilus

Orange Nautilus, a slightly smaller work, is pinned on paper. Separate smaller pieces of dense machine stitching are combined in a medley of positive and negative space, again with the complexity of shadows providing a dynamic element to the composition. Some moulding of form has been achieved in the detailed colouring of the work. I don’t know if Woolnough has experimented with additional physical moulding of her large pieces. On her blog she has shown small bowls of her stitched traceries (link). These were created for an exhibition after winning the 2014 Emerging Artist – Craft minor award from Craft NSW. The additional depth and layers of patterning of the rounded forms are very effective.

Meredith Woolnough Embroidered specimens captured in resin

Meredith Woolnough
Embroidered specimens captured in resin

Of relevance to my current research, Woolnough has used cast resin to display some of her small works – “specimens”. In a range of sizes this seems an ideal way to present smaller pieces.

Longer term I am very interested to use resin as a display technique, however it doesn’t fit my interpretation of the current course exercise requirements. The casting exercises focus on the manipulated interior space of flexible vessels and on texture created by pressing objects into the still-fluid surface.

All images reproduced by kind permission of the artist.
http://www.meredithwoolnough.com/
http://meredithwoolnough.blogspot.com.au/

Patrick Delorey

Patrick Delorey Erosia: Coal (Detail)

Patrick Delorey
Erosia: Coal (Detail)

In Erosia Patrick Delorey created complex textured panels of new territory, not quite landscape, not quite object. Time and space were collapsed as satellite images of mining sites were layered and blended into new composites. Delorey used a range of materials – aluminium, marble, himalayan pink salt, coal – to produce relief panels of the landscapes.

Patrick Delorey

Patrick Delorey
Erosia: Coal

The works were completed during an artist residency at Autodesk’s Pier 9 – their website shows an exciting range of projects (link). Each material in Delorey’s series required different processes, and it is fascinating to see the range of end effects created (link). I would love to see the actual works, as once again shadows play an important part in the final result.

Patrick Delorey Casting coal and epoxy mix

Patrick Delorey
Casting coal and epoxy mix

Coal uses actual coal, hand crushed by Delorey and mixed with epoxy resin. The method used is covered in detail in an Instructable (link) and involved 3d modeling a relief, machining a foam positive, creating a silicone mold from that positive, processing coal into powder, mixing with epoxy resin until the powder looked “just slightly damp” and casting the final piece.

For my own studies, this process is a wonderful fit with my 3D design and printing sidetrack in Part 1 of the course (link). I am resisting, or at least deferring, the temptation of another tangent – timing is going to be tight enough, especially given cure times in Sydney’s damp winter. However the idea of mixing resin (or other casting materials) with inclusions is definitely on the list for sampling.

All images reproduced by kind permission of the artist.
http://www.patrickdelorey.com/
http://www.instructables.com/id/Casting-Coal-With-Epoxy-Resin-and-Silicone-Molds/step4/Processing-Coal/
http://www.autodesk.com/artist-in-residence/projects/erosia.

T1-MMT-P3 Molding and casting – Artist Research: Meredith Woolnough, Patrick Delorey
Textiles 1 – Mixed Media for Textiles
Part 3: Molding and casting
Artist Research: Meredith Woolnough, Patrick Delorey

T1-MMT-P3 Molding and casting – Artist Research: Victoria Brown

Victoria Brown

Victoria Brown 1440: Ordinance Disorder

Victoria Brown
1440: Ordinance Disorder

Victoria Brown is an artist who works mainly in hand rolled felt. Her Masters was by research – a paper on the early history of feltmaking in the nomadic tradition. She makes beautiful work in what I would term modern traditions, for example the wall hung felts on her website with really beautiful colour and what appears to be highly developed technique (link).

For my current research “works mainly” are very significant words. 1440: Ordinance Disorder was exhibited in Liminal at the Otter Gallery, University of Chichester in 2013. The work includes resin knitting needles, aluminium, pewter, silk and paper as well as wool felt.

Victoria Brown 1440: Ordinance Disorder (Detail)

Victoria Brown
1440: Ordinance Disorder (Detail)

This detail shows the results of the process of particular interest to me. First wool was felted thickly around a glass vessel. The felt was then cut in two, in this instance after dyeing the surface. On one side the space reserved by the bottle has been used a mould into which molten pewter was poured. Brown herself comments on “a sense of the ludicrous” in the action.

Victoria Brown Cast Pewter In A FeltMould

Victoria Brown
Cast Pewter In A Felt Mould

An image of a different work shows more clearly the result. The pewter has solidified in the form of the original glass vessel and has picked up not only the texture but some of the singed fibres of the felt. It’s hard to tell from the photographs of 1440: Ordinance Disorder, but I wonder if the artist has further played with the process by creating multiple felted forms and turning the pewter so it sits proud of the surface of encapsulating felt. The technique has the wonderful property of being non-destructive of the original vessel, which can be used multiple times and displayed together with moulds and cast.

Victoria Brown 1440: Ordinance Disorder (Detail)

Victoria Brown
1440: Ordinance Disorder (Detail)

Another element which has me puzzled is this, described on her website as “pewter encasing a piece of crochet”. The crochet shows no sign of scorching at all, and while clearly deeply embedded some sections sit proud and apparently untouched.

I am attracted by the materials, shapes, textures and evidence of process, but also by the thought revealed in it. 1440: Ordinance Disorder responds to the exhibition theme Liminal. Materials and methods chosen refer in multiple ways to a specific location and its layers of history. A doily both suggests the domestic and is a metaphor for the mind. There is order, map co-ordinates, and disorder or chaos in the poured metal. The settlements and uses of the area in the past are presented, and in my eyes the pod of felt resembles a seed buried in the soil, ready to sprout in a renewed cycle of life.

Victoria Brown Cast Liminal Space

Victoria Brown
Cast Liminal Space

Brown writes that her work explores “the spaces between” in language, memory or process. In the work on the left the two half castings don’t quite match or fit together, and that dark gap, that tiny sliver of light, catch the eye and the mind.

Some works inquire into gender, labour, the nature of art and craft, the possibilities of collaboration. Fine wool mixes with tape measures and found plastic oddments. Other works have a quirk of humour – on a page of “impossible necklaces” are giclee prints, one showing a chain of flies with a little hanging pendant of a spider.

Some thoughts to take forward in my own samples: casting creating hybrid materials – not just capturing an impression of texture, but the mould/pattern material itself evident as an integral part of the cast result; the mould as a record of what was – showing the process, but also changed by the process (this seems to resonate with my earlier ideas about the traces of what has been lost such as a wrapped space that once held a mug’s handle); encasing, but not entirely – raw material breaking through the surface.

All images reproduced by kind permission of the artist. See much more on Victoria’s website, http://victoriabrown15.wix.com/artist.

Additional resource: Liminal: The Otter Gallery exhibition catalogue [online] Available at http://d3mcbia3evjswv.cloudfront.net/files/Liminal%20Show%20Booklet%202013.pdf (Accessed 14-August-2015)

T1-MMT-P3 Molding and casting – Artist Research: Victoria Brown
Textiles 1 – Mixed Media for Textiles
Part 3: Molding and casting
Artist Research

T1-MMT-P3 Molding and casting – Local Research

“Molding” and “casting” can be used to describe a wide range of materials and processes.

At Bloom, a recent exhibition by members of Primrose Paper Arts, there were a number of works which could fit within my research area.

Jill Elias
From the artist’s statement: “Bloom was a porous mass of iron and slag produced in the early smelters. My papers have been cast over the melted metal remains of a car burnt out in the dark of the night outside our studio at Primrose Park, and seedpods found after a bushfire in Victoria.”

Jill Elias Out of Ashes 1 (Detail)

Jill Elias
Out of Ashes 1 (Detail)


Jill Elias  Out Of Ashes 1

Jill Elias
Out Of Ashes 1

This work appears to be a result of “casting” as used in the course notes. Paper pulp has been used to capture the texture of another surface.

The textures are varied with a combination of organic and geometric shapes. Containing this within the rectangular sheets the paper and then together in the larger frame provides a formality and order at contrast to the imagined chaos of a burnt-out car. The narrative as well as the irregular forms adds to the interest of the work.

The colours used in the paper have a subdued warmth and in the afternoon light held shadows that assisted the viewer to appreciate the quality of surface that had been created. The metallic overtones link to the back-story and the theme of the exhibition.

Jill Elias Out of Ashes 2

Jill Elias
Out of Ashes 2


Jill Elias Out Of Ashes 2 (Sideview)

Jill Elias
Out Of Ashes 2 (Sideview)

In a second work by Jill Elias some of the cotton paper had much greater depth, which I’ve attempted to capture in a side-view photograph. I believe these elements were cast/molded over seed-pods.

Using the lens of my current research the processes and differing results are interesting. However as an artwork I find this less successful than that shown previously. The individual elements seem too neatly placed, presented to our attention, rather than combined into a composition. The diagonal line of white is too orderly, too constrained, to add any dynamism to a static arrangement. The drama of the back-story has been stifled. Comparing the two works, Out of Ashes 1 could seem even more controlled, but there is a clear distinction between the molded paper and the subordinated mounting.

Thinking of possible applications in my course sampling, casting/molding paper can clearly be very effective in capturing surface texture and can adapt to unusual source materials. The soft textured surface created is very attractive. If multiple source pieces are used in a single page it could be very difficult to predict the positive and negative forms that will result from the combination given individual shapes and then the relief effect. Lighting could be significant.
 
Rosemary Christmas

Rosemary Christmas Bloom Bouquet Pattern

Rosemary Christmas
Bloom Bouquet Pattern


These two forms by Rosemary Christmas are handmade paper pulp on a wire frame and were included in the Bloom exhibition.

I find them very engaging. Light brings out the deep folds of the underlying wire frame, with the inconsistent cover of the pulp creating deeper shadows emphasising the forms and volume. The plain white of the paper provides a dimension of simplicity. Placed side by side the two vessels combine and respond to each other in a more complex composition of echoing shapes and lines.

It would be easy when describing the works to use the terms “cast” and “molding”, and I probably would have used those terms in the past, but I don’t believe the processes used or the result fit within the assignment parameters. That doesn’t mean ruling this out as a line of investigation, but it would be a side track.

Eggpicnic and Future Nature
Future Nature is a project at the Australian Design Centre (ADC) in partnership with the nearby Australian Museum. It’s a mixture of art, science and design, exploring possible futures. Currently there are a number of designers in residence at ADC including Eggpicnic, Christopher Macaluso and Camila De Gregorio, with an exhibition opening 27 August. The ADC website promises that the resident artists will be “exposing their creative process as they design for the exhibition” and Christopher and Camila certainly lived up to that when I visited last week, being incredibly generous with their time, information, and general enthusiasm and interest.
EggpicnicEggpicnic_2The work table was an exciting jumble, but you may be able to see a number of examples of casting and molding.

For this project the duo are interested in bio-degradable containers and have been experimenting with different combinations of widely available ingredients. Given their inspiration at the Museum there is a strong scientific slant with petri dishes and lab beakers. The actual experimentation seems very open, with many of the base materials available at supermarkets. Cornstarch, salt and water were prominent, but peanut shells and Xanthorrea resin were also to be seen.

In theory I could create similar mixes as part of my course work, but I have concerns about longevity, quarantine and general practicality. Some of their samples were degrading, a couple had mold growing – not suitable for posting work to the UK for assessment next year. However the general approach of open-mindedness, risk-taking, and iterative experimentation was inspiring. They also shared information about resources, including www.instructables.com/ and a possible source for eco resin.

Dani Marti

Dani Marti Centrepoint Tower facade

Dani Marti
Centrepoint Tower facade

marti_2Dani Marti is an exciting, risk-taking artist whose work includes film and weave (described as “painting” on his website).

For the facade of this shopping centre / office block Marti wove ropes to create a work which became the pattern for silicon molds. Panels were cast using glassfibre reinforced concrete, as precast concrete and the associated support structure was estimated to be too heavy. There are photos of the original sculpture and the process of making mold and final cast at urbanartprojects.wordpress.com/2009/12/18/the-making-of-baroque-minimalism-dani-marti/. The end result takes my attention every time I walk past it, but given I’m a weaver perhaps a better indicator is how frequently I see people who have stopped to look at and touch the wall. I think there’s the surprise that it’s panels of concrete rather than individual possibly organic parts, but it also is simply very inviting to the touch. The molding and casting process was very effective in capturing the textures of the original sculpture.

From my research so far this process of making a mold and then taking a cast is very common. It’s not precisely covered in the course exercises, but there could be some wriggle room towards the end of the second project. Certainly I am keen to use textile techniques and particularly weaving as a source of texture and this work suggests one path towards that. I will need to consider my material choices carefully to keep options open.

For my response to a very different exhibition of work by Dani Marti see 22-October-2012.

T1-MMT-P3 Molding and casting – Local Research
Textiles 1 – Mixed Media for Textiles
Part 3: Molding and casting
Local Research

T1-MMT-P3 Molding and casting – Initial Research

This Part of the course is about creating new surfaces, molding a material by using surfaces with texture, and casting into a flexible material, with further processes to develop the results of both.

This is a huge field with many possible materials available and I suspect new and improved products coming onto the market frequently. It will take some time and research to identify and source some good candidates. First I want to consider what I already have, including some materials already used earlier in the course.

Polymorph plastic pellets

Sidetrack p1-5 Materials

Sidetrack p1-5 Materials

An extensive side-track using this material was recorded 21-April-2015. Under different names these pellets are included in the course notes’ list of possibilities. It’s quite odd, to go off on what appears to be an adventurous tangent and then discover it’s core course content.

Sidetrack p1-6 Embossed

Sidetrack p1-6 Embossed

Among other experiments on my tangent I embossed the polymorph then used it as a stamp. I’ll now redefine that as molding. Clearly this needs to be one of my selections for the current Part.
 
 
PVC board – James Jet workshop
experimental collagraph 01

experimental collagraph 01

In the Experimental Collagraphs workshop with Jet James (16-July-2015) we created texture on pvc board using the pressure of the printer roller.

Photo: Claire Brach

Photo: Claire Brach

This technique uses solid texture sources on a solid material so doesn’t fit with the more liquid molding and casting materials in this Part. Overall the method would be better explored within Part 4 which looks at mono and collatype printing. However I think there is potential for creating a mold that is used for casting. If I want to make a plaster block with say texture from heat-treated organza, one way would be to imprint the texture on pvc board and use that to build a mold.

Papier mâché

Paper cast of 3D sketch

Paper cast of 3D sketch

During Part 1 I attempted to rescue a sketch on rice paper, using it to make a papier mâché cast of some 3D pen work (16-May-2015). At that time I had quite a long list of possible directions to take similar work. Looking at it now I would add stitch and some of the joining ideas from Part 2 to the list.

This seems an ideal opportunity to explore further.

Casting in kinetic sand

Sidetrack p1-3 Result

Sidetrack p1-3 Result

While experimenting with the 3D pen I was introduced to the wonders of kinetic sand. On the left you can see I used the sand as a mold in which I “cast” the semi-liquid strand of plastic produced by the pen (16-April-2015). (You may also note the alternative spelling “mould”. I’ve now switched to the form used in the course notes).

Sample p1-59b After - on mould

Sample p1-59b After – on mould

Sample p1-59 (20-April-2015) used the sand as a form or mold when using a heat gun on fragments of plastic. Can this be regarded as “casting”? In my first reading of the requirements the focus appears to be on capturing texture. I think there is potential here, but no certainty. (Risk!!!)

Shrink wrap mug

Sample p2-70 view 2

Sample p2-70 view 2

Given the rule bending considered in the previous point, there can be no doubt that I will be attempting to take sample p2-70 further (22-July-2015). Can this be regarded as molding or casting? It must be close. Plastic semi-melted by heating takes form over a mold. That sounds like casting, with a little topographical switch between internal and external. If I can play on that and maybe even capture some texture it should be near enough.

It’s definitely something I want to take further.

Cast paper
A few years ago I spent a day at Primrose Paper Arts (29-May-2011). As well plain sheets of paper we experimented with pressing objects into the damp sheets – not only as inclusions in the final paper, but for form and texture. I don’t have a photograph of my efforts shaping the paper around … I think it was wire racks. Fortunately just a few days ago I went to an exhibition by Primrose Paper Arts – I’ll show more in another post. Currently I don’t feel a strong pull towards this particular material / technique mix.

Having taken stock of existing materials and interests, I’ll move on to wider research.

T1-MMT-P3 Molding and casting – Initial Research
Textiles 1 – Mixed Media for Textiles
Part 3: Molding and casting
Initial Research


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Goodyer girls long weekend in Hobart

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