Stiching with nails and the results of a High Firing

So, you remember that nice piece of porcelain with the nails?

Well after its bisque fire it went back in the kiln for a high fire (1260'c)

and looooooook! 

that is some nice bubbling!

I'm experimenting with some more.....

check back for results next week!

Construct, Deconstruct, Slip-cast, Fold and Pin

I've been having a great time with slip-casting recently, some exciting shapes and forms appearing! Here's what's been happening in the workshop:

unfired experiments, cast with terracotta slip

eddoe cast with nail/pin additions

The terracotta palette: unfired, bisque fired to 1000'c, fired to 1100'c and high fired to 1260'c

bisque fired experiments - the blackened pins are lovely! 

how I would use the palette tests to decide on colours (left sample is an 1180'c firing - so black cherry warm!)

experimenting with pins and porcelain

and more porcelain forms

I'm interested in what's happening and my next task is to consider how to include some of my latex sampling. I am keen to use some of the colourings and glaze tests that I did last week too so we will see where this takes me next...

Update, Easter and.....lighting?!?

We break up for Easter today and you know what, I'm ready for it! It's felt a long term. There's been lots to think about and prepare for. The weather at the moment is horrible too, it's Spring, and SNOWING - what?!

All of that aside though, I felt like I've had a good few weeks. Here's what I've been up to...

latex sampling and my very cluttered workspace!

latex and lighting?

an interesting new fruit to me Eddoes

I liked the texture and the form, it worked well with some of my samples

I bought a melon too

lovely markings

that texture is just delicious!

I found half a fan cover in the freecycle space at uni - why pick it up? to latex it of course!

or use it to draw into?

texture left on latex as it was drying on a sheet of greaseproof, the crease lines are lovely!

2 part slipcasting moulds

a latex mould of the eddoes

to work as a light bulb/cover?

Over the break I have a few things planned...

I'm booked on to the symposium Marking The Line: Ceramics and Architecture, heading over to the Pitt Rivers Museum for some drawing, attending the Living In Threads exhibition and Erik Kessels: Album Beauty. I'm also booked on to a Trend Forecasting Workshop with Trend Boutique - should be a fun couple of weeks!

Assessment time...

...Again!? 

It's been a busy time during this project, I've made a visits to Interiors UK and the Surface & Design Show. Both were interesting events, if only for the new designers and lecture tents!

So, 1, 10, 1000, what's been happening? Well, mould-making has been a key part to this project, and an exploration of form....

I began by looking to secondhand figurines and through a concept of wrapping, started to bind them with layers of videotape. I chose this material, as I did the figurines, for their throwaway and secondhand nature. With a mind on sustainable practice and the choice of material for production, I was considering all that was readily available to me.

Continuing with the idea of throwaway, I used plastic bags to inform the shapes and masters of my moulds. It was with these that I developed plaster casts and samples, and made a number of good and bad mistakes!

The casting of plaster in the bags gave a whole new dimension to the shapes both inside and out. This has given me some ideas for my next project, more on that later though... 

So, after a process of casting and editing, I found my masters and went to work on a 4-part plaster mould for slip casting. My first attempt was disasterous, one big block of plaster with a plastic bag stuck inside of it - eeek!? Second attempt, with some technical help was much more successful and I was on my way to creating my 'batch'.

mould and master

4 part split mould, master and sponge(!)

slipcasts of varying thickness

slipcasts with black slip, inside and out for contrast

I am pleased with the outcome of my slip-casts in terms of form; however feel that with more time I would have liked to have developed a range of glazes. These would enhance their overall appearance and potentially open up a new dialogue in which to explore. 

In addition to the slipcast moulds I have made some silicone with jacket moulds that I intend to use for lost wax casting in glass. 

I have found this project a 'frustrating-at-times-but-overall-enjoyable' one. I feel that my mould-making skills have improved, or my understanding of them has at least, and I look forward to seeing the influence that it will have on my future work. 

In terms of the next project, I see this one as an active spring board for it. We begin a 12 week self-explorative project as of Monday and I note the process of casting, forming, changing, altering and dismantling as key informants of my current thinking. I am mindful of the idea of a casting photocopier whereby each time a form is cast, then remodelled to cast again in can change and alter its shape until it becomes 10 times removed from its initial form. This process excites me and has real scope for material development and exploration. I hope to keep a bit more on top of my updates next project a perhaps commit to a few less things. 

Space set up for assessment showcasing (clockwise from top left);
plaster models, silicone with jacket moulds, wax casts,
4 part plaster mould, slip casts, dipped slip experiment with upholstery foam,
vacuum formed open mould from 1st failed silicone mould

Mouldmaking, Slipcasting, Visualising and, Assessment!

It's nearing the end of term, I am due to present my work for assessment on Monday and as it's been a while since I've updated, here are some pictures of what I've been up to:

By simplifying my movement drawings to the essence of the act,
I formed these into copper wire.

Into the wire I used expanding foam
which created some interesting organic like shapes.

From these I made some plaster moulds which I then used for slip-casting in porcelain

The foam objects were quite complex in shape
and suffered from a  lot of undercuts in the casting process

this resulted in a lot of tears and breaks in the casts

but as a collection they worked well together

Once fired I experimented with how they might look with lighting inside them.

Visualization was an essential part of this project as the work was intended for a large-scale installation. Here are images of the casts in 'situ':

a stumble-upon installation in an only rum distillery

and a suggestion as large scale stage set for a dance/physical theatre performance.

So, with Year Two, Term One coming to a close, here's my space all set up for assessment - wish me luck!