A3; The Selection Process (1)

My first attempt at reviewing what I have produced during Part Three led to another spurt of making. There is so much more I would like to do but for now must be content with identifying the samples with potential and collating them here.

As I presented each selection I noticed I was providing narrative, I have tried to avoid this over the rest of my posts. I decided to continue to summarise my thoughts as I curated my work but included links to the relevant posts where discussion is more analytical.

SELECTION 1: LATEX DISCS (related post here)

I learned that latex could be coloured and poured in layers either over or around textural surfaces. I found the samples work best as a collection as the regular size and shape counterbalances the imperfections.

The Latex/Sand combination was not what I expected at all, I had hoped to pick up a fine, gritty texture but the result was a strange spongy foam, with a crust like butter set over pate! Further work could be done to either improve this result or exploit it.

Encapsulating yarn led to further investigations into how Latex can be used in a rather more linear format (see selection 2).

SELECTION 2: LATEX YARN (Related post here)

I felt these samples deviated slightly from the brief, I include them to show that I quite naturally sought to develop the samples as I went along, rather than waiting to be instructed to at the end of 3.1

Impregnating yarns with Latex solves problems I have come across in the past. It hardens the yarn whilst still allowing it to remain flexible, this will allow me to sculpt with it like wire and to emboss the texture of the form I create from it, albeit knitting, weaving or crochet. A really useful discovery.


Now there’s a sentence I never thought I’d type! I felt quite frustrated by the authoritarian tone of many of the moulding tutorials I came across, I sought a creative solution inspired by the principles of Bruce Mau. (Thank you Cari)

The shapes and pattern in this sample became thematic during the course of Part 3, they can be seen being developed across many of the following samples.


I was keen to explore the pointed ends of the twigs rather than the surface area which seemed more predictable. This ‘end on’ idea was inspired by Sanne Schuurman who has a rather unique way of looking at the materials she uses. The ends were pressed into Mouldable Polymer creating a spiralling pattern, made up of smaller circles.

I developed the Polydoh sample with embossing and casting in alternative materials. I am very keen to work on this some more, I particularly want to use the Silicone casting as a print block and to try and elongate the depth of the holes (perhaps by drilling) to create spikes rather than dots…

SELECTION 5: PLASTER AND KNIT (Related post here)

The samples I made with knitted swatches appear to reference my research into Rebecca Fairley’s process, however, the inspiration also came from Victoria Ferrand Scott. At the time I was feeling really unhappy with MMT, I identified with Ferrand Scott’s frustration over the delays of her Holocaust Memorial Project and decided to adopt a more physical approach to my sampling, just as she did. (more on this in sketchbook too)


This was my favourite of all these samples, I like the regularity of the stripes combined with the imperfections of the stretched knit texture and embedded fibres.

SELECTION 6: PLASTER BALLOON PEBBLES (Related post here and here)

Whilst I understand the need for imperfection in Whiteread’s sculptures, I sought to eradicate the flaws created by human use, more in line with Ferrand Scott’s smooth, silken shapes. The balloon allowed me to do this.

Difficulties filling the vessel created palm sized samples that are really tactile and cry out to be held and felt like pebbles. Unfortunately the impermanence of the latex covering meant I had to unwrap them. In their pristine state they are less inviting to touch, this led to an investigation into alternative materials for casting (Polydoh/Resin) and methods of colouring.

SELECTION 7: COLOURED PLASTER: (Relevant post here)

Introducing colour to the plaster with Brusho was effective. In these samples the vibrancy of the colour enhances the textures. Finding Maarten de Ceulaer, heavily influenced my thinking here. He welcomes imperfections and uses them to his own benefit, this was a lesson I needed to learn.


The Selection Process continues in my next post…



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