Archive for the 'Workshop' Category

Jane Tadrist: Silver Jewellery Etching

This class at Sydney Community College was held on two Tuesday evenings. Going straight from work it made long days, but I’m pleased with my results and learning so definitely worth the effort.

Very broadly the steps followed were:

1. Preparation of images (done prior to class).
These needed to be black and white, printed in specific dimensions to fit the metal pieces we would be using.

I spent a fun afternoon going through images of old sketchbook pages, looking for possibilities. For example some pen and ink scribble from 2011 (A Creative Approach sketchbook 1), already interpreted multiple times including in print on cotton (22-Mar-2012), was the base for both square and strip designs. Not sure what designs would work best, I created quite a few, all printed out in both positive and negative forms.

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2. Selection of images and transfer onto PNP Blue

Copied images on PNP

It was a multi-step process to get a photocopy of selected images onto PNP Blue (Press N Peel PCB Film, sold at some electronics stores to make Printed Circuit Boards). The film is expensive, so you want to get the most from each sheet, it has to be toner not inkjet, pros and cons of different designs were discussed, not-quite-right images were carefully doctored manually…

3. Preparation of metal
The constant, awful, truth of jewellery and small scale metalwork, in particular my nemesis – soldering (30-Apr-2018). Flat, to size, filed, no plastic coating, sanded, scrubbed, rinsed, carried tenderly and gingerly lest fingerprints should be left on its pristine surface…

4. Transfer of design onto metal and protection of areas not to be etched.
The toner on the PNP film is transferred onto the metal using heat – domestic irons. The toner will act as a resist, protecting selected areas while any bare parts are eaten away. Nail polish and tape were used to protect sides and back.

This was as far as I got the first night. The actual etching takes time, at least 30 minutes and considerably more depending on a range of variables.

5. Etching metal
The prepared metal is put in a chemical bath – ferric chloride for base metals and ferric nitrate for silver. These chemicals need to be treated seriously, carefully – after all, they dissolve metal. Fumes, safe materials for holding the chemicals, proper personal protection, all had to be considered. Work with care and attention, and there won’t be a problem. As well as the safety procedures, Jane gave us lots of tips on correct temperatures, agitation (of the bath, not the users 🙂 ), methods and angle of suspension and more.

6. Check, remove, neutralise, clean
We all worked on preparing more metal and samples as soon as the first strips were in the etching bath, which helped with the waiting and anticipation. A check every 15 minutes or so, and eventually we decided the etching was deep enough. Each piece of metal had to be neutralised in a baking soda solution, then lots of cleaning to remove toner, tape, nail polish.

7. Further enhance and use your metal
I think everyone in the class etched three pieces – strips of brass and copper, a square of silver. Unfortunately we all ran short of time on the etching of our second strips, and they were less deeply etched. Some had time to create a jewellery piece during the class, but it was getting late and I chose to wait for the weekend.

Some of us decided to use liver of sulphur on at least some of our pieces. It creates colour, a patina, on the metal and can be buffed back to bring out highlights and make the etched pattern more obvious. I thought it was always black, but a couple of us got other colours.

I was able to get a few photos of other people’s work, plus permission to use them here.

Vicki’s silver square, with liver of sulphur colouring

The silver we used was 3 x 3 cm. Vicki’s design came out really well. I’m not sure of the source of her design, it’s quite a formal pattern, but there’s still a lot of movement. The amount of detail is effective, and I like the variation in size or boldness of line. The colouring from liver of sulphur works really well to suggest a peacock display.

Dilkie’s silver square

Dilkie chose to keep her silver natural, not adding any patina. The clean lines of the floral pattern stand out well and the eye is easily able to follow the lines with no additional contrast needed.

The photos were a surprise, as the slight pitting and irregularity isn’t visible to the naked eye. I think if anything it gives a little extra life to the piece, an extra variation in the way light is reflected, and it shows the history of its making, the hand of the maker.

Dilkie’s cuff, in brass

Dilkie’s cuff uses a simple, formal, and very effective pattern. It catches the light beautifully.

I need to think some more about the kinds of pattern that work best with this technique. I’d taken a few more formal or rigid patterns, but was interested in seeing how “expressive mark making” would work. I think it makes it harder for the eye to follow, so the patterning is more muddled.

The scribble design shown at the top was used on a brass strip. It was long enough to make a cuff, with offcuts that I used in pair of earrings. The original design is quite bold, but I used the low-res blog version rather than the original photo, and the result is clearly pixelated.

Cuff and earrings. Brass


There’s no deliberate patination or colouring of the metal. Somehow in the etching process the unetched areas took on a coppery look. No idea how to reproduce it, but I really like the effect.

The pattern I used on the silver square was less successful in terms of being easy to interpret, but I like the abstract nature of it.

Sketch 20150815

Black and white square design

The source material was a print made in August 2015 while researching for molding and casting (21-Aug-2015). I used gimp for the image manipulation, which was as simple as selecting an area and changing colour mode to indexed using a black and white (1-bit) palette.

Liver of sulphur was definitely needed to provide some extra contrast, and I got some areas of colour as a bonus. I think the others were planning to use their squares as pendants, but for me it’s always about the earrings.

There are flaws – a few scratches, holes a bit off centre – and the ear-wires may well be changed. But I wore them out to dinner over the weekend, got some nice compliments from my well-trained family, and am happy.

My final strip of copper just didn’t work. It needed longer in the etching solution, but the design is quite bitty and was always going to be a challenge.


Sample p2-20 b

The original photo was of a sample of joining with overlapping edges, using cork and insect screen (22-Jun-2015). Originally I thought the black and white design had a flow that would guide the eye along, but it’s really just scrappy. Back home I tried using liver of sulphur to bring out contrast, but there really wasn’t anything there.

A detail of the “good” end.

The class is being run again later in the year. It will be the same number of hours on a single Saturday. It would mean a longer stretch of time to get work into the etching bath (most of us ran out of time on the first evening), but you don’t have time to process, reflect and plan before the second half of the class. Tempting, especially if there’s opportunity to experiment with other forms of resist, alternatives to PNP (wax, different forms of marker…).

Finished tealight from previous class.

I’ve enjoyed two classes with Jane, who is very knowledgeable and happy to share ideas and tips, plus prepared to go a little off topic if asked. I realised during the class that I’ve never shown the finished tea-light holder from her workshop earlier this year. It was seen soldered but still needing the base resolved and of course all that pesky cleaning still to go (18-Feb-2018).

There isn’t an actual tealight in the photo, just a desk lamp shone down into it. I think the treatment of the bottom edge works well with the theme, and it had the advantage of not being too precise so very suitable to my beginner skills 🙂 .

I see in the post on the earlier class linked above that I was thinking of a home soldering area “before the end of the year”. Obviously I’ve brought that forward (30-Apr-2018), and with some extra tips from Jane, today I tried cutting and shaping some copper to make a cylinder with a tight fit that I could solder. It took some time, but I got my best-ever fitting seam. Haven’t actually soldered it yet – I could feel that I was both tired and impatient, so I walked away – but I have renewed hope.

Cuff – resin offcut from Confluence basin

Finally, as part of tooling-up to finish different things I bought an oval bracelet mandrel during the week. (an aside – it’s rather dangerous for me that Australian Jewellers Supplies is just over the road from my workplace.). As mentioned above, in jewellery terms I’m all about the earrings… but I’ve recently been thinking of extending out to cuffs, bracelets and bangles. This is an offcut from the basin element of Confluence (8-Apr-2018), softened in the work-room microwave and formed. Possibilities!

Folding metal for objects & jewellery making with Christian Hall

This was my third time at Sturt summer school. The first was in 2012, Contemporary Weave with Liz Williamson (14-Jan-2012). The second, last year, was Basketry with Brooke Munro (15-Jan-2017).

It was the same lovely space at Frensham school in Mittagong. The general atmosphere was purposeful, happy and welcoming. The class was out of my comfort zone – a beginner, but I thought with some relevant experience from last year’s Welding Sculpture with Paul Hopmeier (22-Jan-2017) and working in wire during Steeling Beauty with Keith Lo Bue (23-Apr-2017). (Yes, I’m clearly a workshop fanatic).

So why am I back in Sydney writing up this experience, when I should still be in Mittagong giving the final polish to my work before the open-class walkaround that closes the week?

It’s going to take some time to think through many details, but I think fundamentally it was a bad match of my skills and ability to the major projects of the class. Although billed as suitable for all levels, I was the only beginner and it showed. There was clumsiness, mistakes, eyesight issues and lots of frustration. There was also learning, lots of camaraderie and support, and a good tutor. Combine all of these with a workroom which needs some tlc in arrangement and tools, and weather that hit 38° C yesterday with 40° C forecast today. Plus a particularly fraught afternoon yesterday. My final sample could have been finished in the time available today, but only with so much assistance from others that it would only theoretically be my work. So much less learning than ideal – and in that heat!

Class work 1

That’s not saying there was no learning or making. Above is my sample from the first day, made by folding a strip of copper, extensive hammering of selected areas, repeated annealing, and finally partially opening the fold. There were pretty results around the room, and some students returned to this technique repeatedly over the coming days. (those working much faster than me)

Sample day 2

On the second day we used hammering around a die to make a shallow dish, carefully sized to act as a lid to some brass tubing Christian supplied. The end result with two dishes/lids or one lid and one soldered base was intended as a tea caddy or similar.

The idea of precision and tight fits alarmed me, so I decided to experiment with using “too much” copper to see how the material behaved. Some beautiful folds, complemented by the roller embossing with leaves that Christian also demonstrated. On the left is the photo above is Christian’s sample. On the right is my response 🙂

The following two days, and what would have continued today, was my “major work” – hammered brass, scored, folded and soldered into a square tube, then soldered onto a base. Nothing fit to photograph due to a sorry (and for anyone else boring) tale of woe.

All is not doom and gloom. Since arriving home I’ve sourced and enrolled in a silver smithing course in February – three Saturday mornings at Sydney Community College. With the benefit of hindsight, just what I should have done before the Sturt class!

Still glancing back

Continuing from 21-Dec-2017, looking back as I move forward…

There’s been a little making over this time.

A matter of balance
Overall it’s not what I intended to make and it’s just not right. On the hand there’s lots I like, lots I learnt, lots I brought forward in this.

Good points include:

Sample p3-40 sand molded side

* Use of sample p3-40 from Mixed Media for Textiles (23-Sept-2015). This started life as a heat distortion sample of silver lamé, which was later encased in resin.
* an element of basketry – neolithic twining in wire for a couple of elements.
* I like the little dangle of shards and chain.

Class with Marion Gaemers

Marion Gaemers at workshop

This two day workshop was organised by Basketry NSW.

My class samples

In one sense Sculptural Basketry was pretty simple – cutting and distorting different sizes of chicken wire, wrapping it, coiling from it, covering with and removing paper. Repeat over two days.

Of course there was more. Marion didn’t stop, coming round to each person, asking questions… – and listening to our answers. Then more questions, encouraging us to see, to think about possibilities, to challenge our unconscious, limiting assumptions. With structure taken care of by the wire you can go anywhere with basketry. Cut some out to create voids, or add, or twist. Build in any direction, experiment with materials, use familiar techniques in new ways.


Marion also has lots of expertise in group installations, and while in Sydney she was helping with an upcoming project. It’s too soon to share any details, but here is a glimpse of some work in progress.

Art gallery talks
An embarrassment of riches really. The AGNSW weekly lecture series Site Specific: The power of place, shorter series and one-off lectures on Tolstoy, 17th century dutch doll houses, archaeology in Khotan and Dunhuang… I go and in the darkness scribble phrases and images that catch my mind. Too much to sift through right now unfortunately, but filed away as a resource for the future.

There was a whole day of lectures at the Sydney sculpture conference: in public space. Speakers touched on sculpture as a carrier of time – beyond time, space, reality; the language of a particular place, of Sydney; facilitating transformations; propositional and ephemeral work. There was a lot about the funding of work, challenges to the artist that push them. Maaretta Jaukkuir commented that a work can address the whole of society and public sculpture more ideology than art.

Statue of Richard Bourke
Attribution: DO’Neil at the English language Wikipedia

What has particularly stayed with me is Michael Hill’s comments on public sculpture helping you to understand a place and its history. He talked about a monument to Governor Richard Bourke. This was the first public statue erected in Australia. It is by Edward Hodges Baily, who was also responsible for the statue of Lord Nelson in Trafalgar Square. It shows a prominent governor of the young colony who worked to change it from military to civil government, to reduce the number of lashes a magistrate could order to a low 50, who declared each religious denomination on equal footing before the law, who was the first governor to publish the colony accounts. So a great, modern, guy. Except that he was the one who proclaimed the doctrine of terra nullius, that the land was nobody’s, dispossessing the indigenous Australians. And the statue stands high, looking over usurped land, on a plinth which lists this achievement.

Now the proclamation seems to have been triggered by concerns about European squatters on the land and a particular “treaty” that was claimed to be have been made and has all sorts of complications and issues. So maybe more establishing a pecking order in the plundering. But coming back to Michael Hill’s lecture, you can see why some in our community find the statue of Bourke offensive, and I don’t agree with Hill’s repeated laments about calls for the statue’s removal and that only sculptures and artworks are subject to such calls, while buildings and other works remain standing. To me the statue has limited modern artistic merit – if it was part of the AGNSW’s collection, would it be guaranteed constant display in perpetuity? It is there because of its historical interest, and that history is disputed and painful. So let’s get the statue down and display it somewhere with context, with other points of view given equal weight, where there can be discussions that take us to a better future that includes facing and redressing as far as possible past wrongs, rather than celebrating and continuing them.

Rant over. And catchup almost over, as much as it ever will be.

Workshop: Bolga basket weaving with Godwin Yidana

I was attracted to this workshop by the ideas of working with recycled plastic and of learning some new weaving techniques. Big ticks on both of those, but the main event was so much more. Godwin tells stories – about the history of weaving in northern Ghana where he grew up, weaving as an embodiment of culture. He spoke of home life and challenges, the wisdom of his grandmother, the g-lish foundation and its impact on the lives more than a hundred who now have a way of earning, saving, having access for themselves and their families to food, training, and more.

Work in progress. Materials were hand-twisted cord from 500 ml water bags, recycled and scrap fabric, plastic shopping bags.

Godwin and fellow co-founder of g-lish, Gayle Pescud, were warmly welcoming, sharing, supporting. Right from the start it felt different to other classes as we were gently taught to listen attentively, not fidgeting with our materials and phones, as we heard of the significant spiritual role of circles in Ghana traditions, connectedness, and how all both give and receive. As the day progressed everyone shared stories, made connections, some plans for future ventures…

Finished basket

New techniques included a variant on making cord (Godwin’s repurposed thong technique – a short video at https://www.instagram.com
/p/BXJppVbAaSq/
– I’ve adapted at home using a non-skid mat offcut); a neat setup technique for the basket; lots of detail on handling materials, joining, adding “legs” and more. Everyone finished a small basket, and seemed to feel warmed, refreshed, re-energised.

Some links:
http://www.glishfoundation.org/
https://www.facebook.com/GlishFoundationGhana/
http://www.godwinyidana.com/
https://www.instagram.com/godwinyidana/

No destination

A liberating moment of realisation – there is no destination, no triumphant end point, no grand statement. I’ve been feeling a bit lost, doing lots of bits and pieces, coming to the end of my grand plan of foundation training and … and then what? I felt I should develop a Brief – capital letter, a big, serious challenge.

Totally blocking.

What I really want to do is make. experiment. explore. play. most of all play.
Inevitably reading and thinking and looking and talking. But not driving to be some kind of substitute course or program.

Live the life and enjoy it. Go to what attracts me. Not look too far ahead.

What led to this insight? In part a great pair of workshops with Keith Lo Bue. Capping off a year of great workshops. I’ve got the beginnings of a great (!) set of tools, techniques, materials, ideas. And now I want a time of free play, see what I can do with it all.

The workshops with Keith were Steeling Beauty (2 days) and Precious Little (3 days), held as part of ContextArt.

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In Steeling Beauty we took 1.57mm steel wire, sold cheaply at hardware stores here as “reo wire”, and turned it into intricate chains and forms. Keith covered tools (options, strengths, limitations), technique (basic how to plus variations, ergonomics, safety, efficiency…) and design.

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Precious Little started by throwing us in the deep end. First we wandered the grounds of the venue, collecting oddments. Then a swap, putting three of our precious brought objects on a table and selecting three others. Then the brief: take one precious object we brought from home, one found object, and one from the swap, and combine in a piece of wearable art – no extras, no glue. Cue the gasps of horror. A group sharing and discussion at the end of the day showed an amazing range of responses to the challenge and some really interesting work.

The following days we could work on our own chosen projects, with group sessions of instruction and demonstration from Keith. This was just as thorough, as enlightening, and as empowering as in Steeling Beauty. At least half a day was spent on drilling holes in different materials. It sounds like overkill, but was just amazing. I’m full of confidence in approaching materials in a safe way, allowing me to experiment and play freely.

sugar tong earrings

The learning and exploration has continued following the class. I bought Keith’s DVD workshop Getting Attached: Rivets revealed! and have been watching that. I’ve been sourcing a few more key tools. And I’ve been making.

A box of old cutlery oddments in an antique store provided the base material for a pair of earrings (begun in class and finished at home. Skills practised included use of jeweller’s saw, filing, drilling, use of various pliers and cutters).

Ceramic and steel earrings

More earrings use forms created from the reo wire, plus pieces from a ceramic egg-cup, found broken in the back of a kitchen cupboard. The egg-cup came from Auntie Min (my “Australian grandma”, although the relationship is more complex). I’m so happy to have found a way to keep this close.

These used the new wire cold-forging skills, sawing and bending, grinding and drilling ceramic… Some adjustments, fine-tuneing and polishing are still needed.

Cold forged, random weave

Finally a first attempt in combining techniques from two of the classes I’ve done this year – with Keith, and the random weave with Brooke Munro (15-Jan-2017).

That same reo wire is also being used in the ongoing random weave on a structure begun in class with Paul Hopmeier (22-Jan-2017). And I’ve got ideas about using that wire, and some of all those skills, combined with some of the lines and form explored in the various life drawing and life sculpting classes (with Kassandra Bossell 1-Apr-2017, amongst others).

Playtime!

Workshop: Figure Sculpting with Kassandra Bossell

This one day class at Sydney Community College in Rozelle was engrossing and satisfying. Kassandra is a warm, supportive and encouraging tutor. For me it was a wonderful combination of my recent learning in life drawing with my interest in developing my work toward three dimensions.

Our material was clay (Keane’s white raku), and just a few simple tools. We were given the task of modelling an elephant to introduce us to the clay. It is so pleasant to work with. This really brings the haptic element to work – very welcome to one with a history of working with textiles.

Then our model arrived and we were introduced to the work process. The model posed on a table set in the centre of the room. Touching and almost surrounding it were more tables, with just a short gap at one corner for access. We worked on boards, 10 of us distributed in a circle around the model. After a short period we would move to the next position, reorient our board, and continue working. Eventually we would work our way around the circle and have seen the model from every angle (we could climb up on stools for a top view).

In the first pose we were to focus on the torso – no limbs. For me this made apparent a difference to drawing. Normally you’re fighting to ignore what you “know”, to draw from observation. For this sculpting I found using my own knowledge and experience of the body was helpful, especially when an arm obscured the torso.

However what we know is always a dangerous thing. Some of the heads in the class looked more like a ball balanced on a short cylinder, and I think virtually all of us had the head too small. Kassandra asked us to focus on the head and how it sits on the body in our third attempt.

A reclining pose raised new problems. Parts of the body were pushed around or hidden by cushions. It was difficult to avoid having the body look like it was emerging through the table.

Throughout the day Kassandra continued to introduce new ideas, or refinements of technique. We needed to think about proportion, weight, volume. Light shows form, and I love the way light almost seems to caress this clay (I haven’t seen it fired, but presumably it could look quite different).

There was a wide variety in results. Some students used transformations, interpretations – definitely not literal representations. I tried hard to reproduce what I was seeing. I also noted again that I naturally use an additive style, building up material rather than carving out.

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The timing of poses varied. First time round I think we had 2 minutes at each position in the circle. Later it was generally 4 minutes and sometimes completing two circuits but moving two positions each time. We all became more and more reluctant to move on, always wanting to do just a little more.

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In the final pose of the day the model was hunched forward, putting a lot of weight on her arms. Without an armature my work kept sagging forwards. Kassandra showed me how to build up and strengthen the arms. In theory I could work on the clay when it is dry, fix up the shaping a bit.

A week later and the clay is far from dry. Sydney has seen a lot of rain, but none of the winds and flooding the north has experienced. Kassandra finished the workshop with a lot of information on how to prepare the work for firing. I haven’t decided yet which if any I will take to be fired. There’s also the question of finish. I never had time to blend in the extra material as I was adding it so the figures look very patchy, a little Frankenstein’s monster. I actually really like that, the way light is broken up, and wouldn’t want to do a lot of smoothing or try to “correct” any mistakes.

No hurry to make a decision – but I was in a hurry to book into Kassandra’s next life sculpting workshop. Given my place is secured I am happy to recommend the class (link) to you all.

Workshop: Welding Sculptures with Paul Hopmeier

This week of summer school at National Art School was exciting, exhausting, terrifying, absorbing, expanding, satisfying… It gave me everything I was hoping for and more.

Paul Hopmeier has been exhibiting sculpture for over 30 years and brought a wealth of technical expertise and problem solving ideas. Sometimes with the group but more often individually Paul would share a way of looking at and thinking about sculpture, helping me to see and think about what I was doing. A small comment about not wanting to lack ambition, or a brief discussion on treatment of ends, and I would suddenly see all sorts of new options and possibilities.

Simon Hodgson, the sculpture studio technician, was on hand all week with advice and help, challenging and suggesting, a tutor in all but name in his own right. Paul and Simon together make a great team – great knowledge, lots of respect for each other, but different perspectives and emphases which again made clear the vast choices we have.

nas_workshopThe first day was basically induction and initial practice in safe use of all the equipment available to us. The photo shows one end of the large studio (air-conditioned, thank goodness). At the end are five welding bays, complete with plastic (?) curtains to contain damaging light. We did stick and mig welding. Along the right wall can be seen the large metal cutting bandsaw, on the left wall the sheet metal folder. Left centre is the roller for bending curves. Behind the centre work bench is a belt grinder and a drill press. Out of view is the sheet metal guillotine. The other half of the space is generally for woodwork – we used it as work and discussion area, and for setting out additional tools – different kinds of vise, hand tools, all the safety equipment for eyes, ears, hands etc. Outside was a series of work benches, covered but open, for noisier work – angle grinders (for cutting and grinding), anvils and hammers… There was a lot of equipment to learn about.

oxy_cutting
It wasn’t until the second morning that we were introduced to oxy-acetylene for cutting and bending. This was the one piece of equipment we could only use under direct tutor supervision, and it properly scared me. In the images above I am adjusting the flame and then cutting some metal. Terrifying.

Then we were let loose. Everyone had brought some bits and pieces of steel scrap and maybe some found objects. We each had oddments from the training process – some cut and bent sheet, a curve of flat bar etc. Outside were some piles and bins of dumped material for us to pick over – off-cuts, abandoned student work, some donations from Paul. We could each decide what we wanted to do, to use, ask for or be offered help and advice, then just do it.

I started with more welding practice. Stick welding you need to control speed, angle, feed (of the stick) and placement/direction. I could manage maybe two of those at once. MIG was a bit easier – no changing distance to work to manage feed, but the sensitive trigger kept auto-feeding wire when not wanted.

My first piece evolved from a series of experiments and then a sort of iterative response to what was happening. No progress photos, but the sequence was something like: Trying out the sheet metal guillotine to cut some strips of thin sheet; combining using plain weave; tacking together using the mig welder (difficult not to melt the thin sheet). Where to go next??? Trying out a different join method by riveting the woven piece to the sample curved metal bar. The result stood up on the table in a curve. Where to go next??? Maybe another piece of welded weave to curve around the back. More cutting, weaving, welding, bending. Put the two pieces together. Boring. Dead space. Dull. Don’t want to do that. Where to go next??? The first bit looks a bit like a mask or helmet. The second piece could be a belly or flank. Nope, sizes are wrong. Swap them. Head and torso? How to join them??? Rummage around the metal bins, found some scrap of heavy mesh. Could weld it on. Where to join? Some discussion, try-outs holding with vises. What angle? Some hammering to match curves. Welding. Pieces are joined. Where to go next??? Could it be free-standing? Audition some possibilities. Not convinced. A wall piece? Oh, that looks promising. Need a hanging mechanism. Bend tabs on that major curve? Complex angles. Cut off excess length of curve and weld on back tabs at good angle? Why not weld right across? So some cutting, grinding, drilling of holes, welding. How to finish/protect the metal??? That final question remains undetermined, but that aside at the end of Wednesday I called it done.

Photo: Paul Hopmeier

Photo: Paul Hopmeier

One of my happiest moments in a very happy week was when Paul called this “resolved”. I am thrilled by the process and thrilled with the result.

It’s around 73 cm high, 31 cm wide and sits 19 cm off the wall. I find the textures, the balance of weight and space, the amount of irregularity of form, satisfying. It reads best seen from the front, but has some interest from all angles. I chose not to tidy or hide any part of the process. Messy learner welds remain messy. A couple of sharp external points had a little grinding, but otherwise the result seen is what happened. I think for this piece it works.

basketry_randomweave_2dIt was hard to get moving on a second piece. Finally I decided to develop some ideas based on my random weave vine and wire piece from the class with Brooke Munro (15-Jan-2017). Instead of the vine I could weld a rough basket form of bent rod. I had some interesting bits of wire, knotted and cut ties from the scrap metal yard. The tie wire used in the vine work could be used again in random weave, giving a third weight of line.

A cycle of work repeated all of Thursday. Put on outside work gear (leather gloves, eye protection, ear plugs and muffs). Take a piece of scavenged rod, around 1 cm diameter. Bend in interesting curves that will match work in progress (wip) – no machinery, just rod firmly in vise, long hollow square cut rod placed over end to provide long lever, strength I didn’t know I had in me. Take bent rod and wip inside, change into welding gear (leather gauntlets, welding mask). Long frustrating process using magnets, vise-grips, bricks etc to hold rod and wip in place. Tack weld (or bump and have to re-set). One tiny weld and suddenly everything could be moved around, turned upside down, and the weld completed. Repeat. Repeat again. And again.

On Friday morning I made a start on the random weave. I also found materials and time to make a sort of tuning-fork shaped device that can be held in a vise and assists bending (demonstrated to us on Monday, but unfortunately forgotten by me on Thursday – but at least now I have one). It’s still a work in progress, but I can continue without needing any specialist equipment.

Photo: Paul Hopmeier

Photo: Paul Hopmeier

I’m planning different densities, layering… plans that will change as work progresses.

Lamp by Mat

Lamp by Mat

Mosquito by Steve

Mosquito by Steve

It was interesting to see the range of work done by the different students (just nine of us – the tenth didn’t return after day 1, uncomfortable with the equipment). Mat made a very clever table lamp, the flex hidden in round tube, a lump of solid metal providing a solid base. Steve made a number of quirky pieces, including this mosquito with wings and jaws formed by a pair of pliers and proboscis a saw blade.

This was a great class and I’ve learnt lots. It was good to be able to incorporate weaving, basketry and thread skills and sensibilities right from the start. I’ve since spent some time thinking about minimal home studio setup, or maybe joining a maker-space. Certainly I see all the techniques and materials feeding into future work.

This was the last activity included in the five month plan developed in September (15-Sep-2016). Next I need to review what I’ve been doing and update the plan.

Exciting days ahead.


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