We started field a couple of weeks ago, we’ve been looking out various tools that we can integrate into our working systems, I have found this most interesting, a lot of what would be looking about whether areas of work that I was already trying to explore into, this has been made easier in some places with more knowledge, and harder and others, I found it especially more difficult trying to work computer systems, rhino, sense, mesh maker among some of the new programs, and systems I’ve been trying to work and learn.
This has had interesting results are looking at the ways in which the work can be synergies, from 3-D to 2-D to 3-D from actual to material. I have taken a figure that I made in clay and then made an acrylic in 2D and then made this into a design for a table in which can be made either in plywood, or acrylic, I like the idea of acrylic because of the light hitting the form to make a maqueete and still produce a usable size article.
I found Pete Castle’s class of looking at printing and making stencils very interesting and would like to apply this more to my work in an experimentation, I had an idea of using a chest, and printing possibly cute kittens or teddy bears upon it, and the same for male genitals, I have not yet cast a male body for casting, looking at male versa female form interests me in the way we perceive sexual destination regarding other. would this put more onus on the male genitals and female, and what we would the possible outcome be? Possibly the female looking cute sweet and the male being slightly creepy or sinister.
I have also found the 3D workshop with Ingrid Murphy’s really interesting, and have found it quite challenging exploring Mesh maker,sense and rhino but am finding that I’m starting to get to grips with certain aspects of these programmes, but no way fluid as yet as I’m sure this takes many hours, the possibilities of this in cast making are extremely enticing, being able to use this with the terminally ill people, especially children to scan their faces make cast and then do something for the parents with the children,this could possible be an amazing outcome.
I also found that lithograph was very interesting, I have made a cast of a human heart lithograph, I need to make the opposite or negative cast to the positive I have made in plaster, Caroline has been helping me learn make molds more precisely, as my knowledge in mold making is very basic. This I’m sure will be able to be used in slip casting using Parian a very opaque porcelain, to be used within the work of figures I’m making.
me of them only seen when light is on such as lithograph, I also feel that it would be interesting to explore etching by hand into the clay in the same way the lithograph works.
I have found juggling the different parts of field at the same time quite difficult, as I have wanted to do everything at once, this is meant I have had to try and manage my time incredibly well to still be able to maintain field and subject without losing sight of either, I’m also finding the subject that I’m experimenting and pushing the boundaries of my knowledge, I have filmed myself making the figure “doing handstand with no arms”, I am also filming Sam a colleague who is a Yoga Practitioner and Silk Artist doing some yoga in the green screen tomorrow, I’m looking at putting these and some interviews together and making a short film/ animation, I’ve been talking to Neal Peder, Tom Edgar, and John Piggott for support with this film and other students that may be able to help me with the sound and sensors, light beams and other Intricate areas i do not have the experience with as yet.
Martin has also shown me how to make pewter objects with very basic moulds carved into plaster, these I do not feel will be so prominent at present within my work at present but a very good way of looking at commercialising fiqures quickly. The other process Martin has shown us is how to solder wire easily, working with copper, and mild steel, I have made the same figure and kept synchronicity throughout my working with the image of a photograph of a ceramic figure in movement, this i have found more successful and using at present to help my pain threshold in the evening and making animal figures, i am not sure if these will be used within my work but useful therapy.
Using the same photographed figure and changing process gives me a clearer understanding and comparison of the different techniques I’m learning. I can see a development within my practice which is both useful and skilful.
Field has helped me reflect in my subject, to textualise and contextually look at what my surface of sculpture mean to me? Historically what do my surfaces mean to me? Burnishing, polishing, waxing, having breathable surfaces i have identified as important to me.