A3; The Selection Process (2)

A continuation of the samples I selected as holding the most learning and potential (see part one here). Note that the narrative is designed to curate the work; links are provided to provide more background and analytical discussion.

SELECTION 8:  POLYDOH BALLOON (Relevant post here)

A continuation of my search for an alternative material for the Balloon Pebbles after latex covering had to be removed revealing pristine plaster that was uninviting to touch. (Actually, similar to Ferrand Scott’s aptly named sculpture: ‘Restraint’, I still wanted to touch the pebbles but felt I shouldn’t… this would be an interesting idea to explore later. Similar to museums where you aren’t allowed to handle artefacts, or when you tell a child to “look but don’t touch”).

Once again multiple circles decorate the surface, this time the they are irregular in size, shape and arrangement; the only thing holding them together as a composition is colour and the form of the sphere (egg!).

SELECTION 9: CASTING THE INTERNAL SPACE OF A CASTING OF AN INTERNAL SPACE (Relevant post here)

Here I tried to push the investigation a little bit further by exploring what was going on inside the Polydoh casting. The resulting silicone is a dense, pitted lump that was quite unattractive, but fun to draw. My intention is to explore the differences between this and the polystyrene casting pictured below, as the surface qualities are very different.

 

SELECTION 10: EXPANDING FOAM AND LACE (Relevant post here)

Exploiting and manipulating patterns is probably one of my strengths, it is certainly something I find incredibly rewarding and enjoyable. Once I discovered this technique, toward the end of a lengthy exploratory play session, I realised the potential this has for development. There are infinite possibilities of materials that could be treated like this.

The casting material refuses to be contained and pushes at the boundaries of the vessel, this feels like a metaphor I can relate to. The absence of visible constriction or binding is really important to me; there is nothing sexual or ‘fetish’ about this constraint, it is not brought on my any external force- the only thing holding me back is me…

 

SELECTION 12: EXPANDING FOAM AND CROCHET (Relevant post here)

Another example of a ‘failed’ containment, using the principles of the investigation above (selection 11). I enjoyed exploring the irregular shapes that escaped through an regular arrangement of holes. This is another pattern that I would enjoy working with (perhaps in Part 4).

 

SELECTION 13: COLOURED PLASTER ENCAPSULATED IN RESIN (relevant post here)

In my last feedback, I was asked by my tutor to continue to seek out imperfections. Here I am communicating my new found appreciation and understanding of this by encapsulating the broken pieces of a previous sample in a material that reveals all and conceals nothing.

 

SELECTION 14: COLOURED PLASTER WITH YARNS AND THREADS (Relevant post here)

A culmination of lots of previous experiments, the sample represents many lessons learned. For example: the crochet vessel in which it has been cast has only been partially removed to give the impression something precious is being revealed, an idea supported by the inclusion of gold thread. This improves on the Bonnet sample where I over zealously tore the hat away.

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