*As I continue to develop my project I will be posting the updates to the top of this page. Implying the oldest updates start from the bottom of this page.*
This was my set up of my artwork for open studio. I was really content with how I presented it, particularly being impressed with the relationship created between with the two works. There existed an interwoven narrative between the two works when they were both out of the kiln. The interaction of the rope and the ceramic casts express the narrative that one is bound and one is supported by the same material. I see this rope as the feminine side of men when nurtured and cultivated it is a strength and when suppressed it tethers to to common negative narrative.
The casts are getting better and better as I continue to improve on my techniques in slip casting. I also think the surface alterations are proving to be fun and all are working to provide refined pieces that I believe could act when glazed as resolved artworks.
I am really happy with the cast that I created with the mold. It has the delicacy that is imperative to my whole project. There is an issue with the texture of the mold that using wet and dry of a high grit I believe I can remove.
As I was constructing my mold I was informed that the corners, in an industry mold would be cut so that it is uniformly 30mm thick. I was able to do this by using a wood saw when the plaster was still wet and simultaneously pouring water along the cut while sawing. When pouring the second side I discovered I hadn’t accounted for enough plaster. As a solution I used clay to pack the corners I was going to be cutting off anyway.
I got a lot from my critique, the biggest takeaways from it being that I should play with the scale of the rope in my art and that they could be used to thread through the sculpture.
The above left is a journal entry that shows my planning of my critique. The right being two sketches, I created immediately following my critique to capture the suggestions. The top being a final presentation idea and a rope machine which I could use yarn to create rope that I consider being worth pursuing.
My second attempt of a cast had significant improvements.
I was really proud of my invented method of cutting the alginate with a thread that was attached to my skin and cutting the alginate perfectly similar to a cheese slicer.
The method, not without flaws, exposed many further improvements that can be made.
The dental alginate that I used needs to be mixed electrically to give the proper consistency with such a reduced time frame. This would solve the majority of my issues in that I had bubbles also prevalent covering the surface. I was able to reduce this issue on my second cast by clogging the unwanted texture with terracotta clay before pouring my back up cast.
A selection of studies I made into the grooves that would express the dialog of rope mentioned earlier in my photo study series. The vessels on the left were originally made inspired by my forearm sketch in the first post. I created the grooves on the wheel with the use of a peg and a wooden rib to curve them further. The rope impressions,created a month later, were more telling and, provided I had a tested plan in the layout of the knots, would work.
The images are material references. The various colours and gauge of cord I currently own. One of the cotton sash samples in this photo is imbedded with wire meaning it can be sculpted in additional ways. A good process to have access to but it was a tedious process. The experimenting of alternate scales of rope and this interaction/impression on the body.
These are images of my first trial which I tested upon my brother. I asked him to shave his arm, so the hair didn’t register or become waxed in the casting process. When I did my first cast I used the same method, in which I had previously tested with my friend Lucy when casting her face. I used a slightly slower setting alginate that had a higher cost. I struggled to first apply the alginate to his arm as the lubricant provided too much lubrication. It slid off and wasn’t able to wrap fully until it was setting and resulting in a rough finish. The subsequent application of plaster bandages caused further issues. When trying to reassemble to cast after its removal I found that the sleeve of alginate almost repulsed the plaster. I had to create staples from wire to fix it in place on the plaster. I then created further support of the structure with wire and clay to become a suitable casting vessel.
After removing the plaster cast I discovered that vacuums of air between the alginate and the plaster bandages gave the casting a deformed bulbous texture.
The whole experience can be attributed as a significant learning experience. The biggest lesson is that I need to be overly prepared so I can focus on facilitating conversation as it could inform the alterations made into the future.
This image I entered into UniSA’s ‘Images of Research’ competition in which I will learn of the outcome October 30th. I anticipate good results from feedback by my peers and faith in the accompanying statement submitted.
This is my favorite image of the series in the sense of variability and subtle sensuality to it. I like the detail captured in the knots and the short focal range giving the hair varying detail. I would have submitted this photo but I was concerned with how it would be received.
This third highlighted image from the series provides critical detail in how the knots interact with the flesh. For my sculpture I want to emanate this texture accurately as I love the dialogue that it would provide on fired ceramic with the same rope.
These five make up the broader series in what I am calling “Masculine Vulnerability Study”. The impression left on my skin after removing the rope and the way the texture is visible I am drawn towards. The use of the different coloured cord and in the play of red, white and skin tone received positive feedback from my peers.
The set up which I used for my photos, I fortunately have a smart globe that I adjusted to help the lighting of the photos. The set up when seen by my housemate raised some interesting questions but she ultimately came to the correct assumption before we laughed about it.
These are some other design ideas I found in my Bullet Journal(my bible as a ADHD person). The second page is some jotted notes I made from an informal crit with Jo or Micheal.
Some of my first concept brainstorms and design ideas, mostly being focused on forms. I didn't like the identification that hands bring to the design. I think they are similar to portraits in that we experience the world through our hands much like our faces. Feet less so but they would need to be actively in use for them to work in my artwork.
The brainstorm presents some interesting areas to pursue further. I have used it base my research upon opening up a wide scope to investigate the masculine experience.