Plaster Dipping

I have been experimenting with plaster as a sculptural material following my research on fabric casting. I was interested in the boundaries between hard and soft and have continued along this vein of exploration. One of the other materials that I have been experimenting with is rope, and so I have decided to fuse these two ideas together.

I recently dipped a number of textile items, including rope and calico. Here are some of the pieces drying.

I wanted to focus on the boundary between rigid and pliable and so dipped the ropes at different heights. One of the ropes I completely encased in the plaster, doing this meant that it was no longer textile at all and had completely changed its form.

Another item that I dipped was a piece of calico which i had slashed at equal intervals. I was inspired to do this by some packaging i found. Where the packaging had been slashed, it meant that it could now be stretched without breaking. When the slashes were stretched, they became a series of pockets in the paper which were both visually stimulating and tactile. I was curious as to whether this design could be converted to fabric, so I slashed some calico in the same pattern. as the paper and calico have different weights they held their shape differently, with the calico less inclined to stay stretched by itself. I went on to dip the slashed calico in plaster. I was interested to see how the weight and resulting stretch would affect the form.

Surface Tension

Surface Tension is an installation by artist Alisa Dworsky. Its subject is gravity and counterweights. The nets are made by a traditional lace making technique and are inspired by topographical drawings. The counterweights are used the raise the contour lines (nets) from the floor surface bringing the work into 3 dimensions. I am fascinated by the ideas behind this work and intend to bring some notion of weight and tension into my own work. I was drawn to this work because of the nets, a subject which is recurring throughout my project. The aesthetics of nets much like mesh really appeal to me and will no doubt crop up again throughout the development of my ideas.

This slideshow requires JavaScript.

Making nets

Open weave and mesh like materials have featured in much of my visual research so far, I am drawn to the repetitive structures and the possibility of playing with tension to distort the shape. I have decided that hand knotted nets would be a good technique to explore as they are relatively easy to create while being very versatile. I watched a number of youtube videos on the subject and have read some how-tos online and have come to the conclusion that a basic cargo net using an overhand knotting technique is the simplest to create. I will set up a grid to ensure uniformity and make the process easier. Once the net is complete I intend to play with the tension and ‘stretch’ created by the pattern of knots.

Rope sculpture

Using Susan Baellor-Snyder as my inspiration, I have begun to create some compositions using rope. I am focusing on using the rope as line and exploring the different shapes and forms created by hanging, overlapping and knotting. I invited fellow students to create a composition of their own and photographed the outcome as a starting place to be developed upon later. I am interested in exploring an interactive sculpture/form with a transitional nature as part of my final show.

This slideshow requires JavaScript.

Trip to Birmingham

I went off on a trip to the NEC today for an IHCF event. I’ve been going twice a year for the last 3 years to the Fashion & Embroidery expo and always manage to find something inspiring or useful. They feature selected artists at each event, so its a perfect opportunity to discover something new to influence my own practice, as well as being packed with stalls selling various crafty bits and bobs. This year they happened to be featuring a WI project involving slip dipping! On display were a collection of knitted spoons which had been dipped in porcelain and fired.

http://cornwallwi.org.uk/spoons-a-stirring-tale

Slip Dipping cont.

My slip casts are out of the kiln and they are unbelievably fragile! The firing process burns away any organic material or combustibles ie the string, so that you are left with a hollow slip shell. I am really pleased with a few of these, especially the slashed packaging. I have discussed with my tutor the option of glazing these, either with a clear glaze or trying a copper oxide, which will go a greenish brown, but for now I am going to leave them bisque-fired. I really like the look and feel of them this way as they fit in with my desired aesthetic.

Slip Dipping

Today I did a few quick experiments with slip casting string of varying thicknesses, twine and some interestingly textured packaging. I used the the string to sample a number of distinctive knots. I also created shapes by wrapping and carefully arranging the string/twine, I then dipped these in casting slip, taking care to massage the slip into the fibres before letting the excess drain off and letting them dry.

Frances Wright & Leyla Folwell

Lauren Meyer

Anthony Foo

 

Fibre & Form

I have decided to use Fibre & Form as my working title for FMP, I feel that this encompasses the areas I want to focus on, without giving myself too many guidelines.

I knew that I wanted to respond to this project through sculpture but was unsure as to what that would actually look like. As a result of my research I have decided on a few avenues to explore. I will be looking at a fusion of textiles/fibres with sculptural mediums such as ceramics and plaster, focusing on dipping, saturating and casting. I am particularly focused on form and composition, I want my work to feel organic and effortless in these areas. I found a quote pertaining to the work of Eva Hesse which encompasses my intended aesthetic:

     she made work that hung, draped, dangled, looped, drooped, slumped, webbed, … spilled or just lay on the floor. (Glueck, 2017)

With this aesthetic in mind I have been considering the use of rope, string and hessian mesh. I will explore loose woven structures, knitting, crochet and knotting, with the specific intention for dipping these and controlling the composition and form as they dry. I will also explore the possibility for firing items dipped in slip resulting in intricate hollow structures.

Dana Barnes

Eva Hesse

Ruth Asawa

Anthony Foo

Annie Turner

Ernesto Neto

Quote taken from Bringing the Soul Into Minimalism: Eva Hesse. [online] Nytimes.com. Available at: http://www.nytimes.com/2006/05/12/arts/design/12hess.html

Fabric casting

Today I experimented with fabric casting. I had never come across this technique before until one of my tutors suggested it to me, so I thought I should start by googling it. I found that it is a fairly new, innovative way to cast unconventional shapes for use in a number of different industries including architectural design.

Florian Schmid is a furniture designer who has used a similar technique to create practical and beautiful objects for the home. He produced a series of stools made from what he calls concrete canvas, which is basically fabric impregnated with cement. He accents the concrete with brightly coloured stitching along the folds of the forms. He says of the project:

“The Material combines the warm softness of the cloth and the stability of the cold concrete, but the finished surface keeps the soft appearance. The Project plays with a visual delusion that actually cloth can not give the strength to sit on.”

I really like this juxtaposition of soft and hard, smooth and textured, this is something I have explored previously and intend to develop upon further.

This slideshow requires JavaScript.

I felt that fabric casting would be a useful process to explore given its wide-reaching sculptural possibilities. The basic process involves creating a mould, using fabric, into which you pour the casting material. I created a number of fabric ‘pockets’ which I would then fill with plaster.

As this was my first time experimenting with this technique, I didn’t put too much thought into the ‘pockets’ I was creating. I just wanted to get a feel for some of the possible shapes I could create. I used a sewing machine to stitch a few pockets, focusing on curved forms, but also wanted to explore how I could constrain the cast within a more simple rectangular shape.

Below are the pockets before I poured the plaster.

I started with the larger shape on the left, unfortunately the plaster mix was a bit thick and so I had to manually squeeze much of the plaster through the gaps leading to an irregular surface. I then mixed up some thinner plaster and this passed through the channels much easier.

Below are the casts at various stages of unwrapping.

 

Susan Baellor-Snyder

Susan Baellor-Snyder is a textile artist who uses natural manila rope to create ‘free-woven’ wall hung sculptures. I discovered her work on textileartist.org and was drawn to it because of the material. I like the tough nature of the rope, it sits between a soft textile, made from fibers, and something more rigid like wire, with the same pliable and mouldable nature. I also like the organic nature of the material, the colours and texture. Her compositions are very complex, she uses ropes and twines in different weights, for both structure and embellishment, making use of knotting techniques and functional and decorative stitches. I prefer a looser appearance with more in between spaces taking this into my own practice. Having read an interview with the artist, I really like her style of working. She says that the process is spontaneous ans intuitive, and the work just flows. This is a method of working that I intend to carry into my own practice.

This slideshow requires JavaScript.

http://www.textileartist.org/susan-beallor-snyder-interview-manila-rope-sculptures/