In the Corner...

Whilst wandering the Melbourne environment, rubbings of interesting textures were made. These textures were then recreated through drawing them within the spaces created by over lapping circles.

From these drawings the textures where then brought back into three dimensions through the use of collage and perspective drawing. The outcomes of the collages are pictured below.

In some cases, the negative spaces was enhanced by cutting away areas of the page.

Next a corner within the room was selected (in this case the curve created by the back-rest and leg of a chair) and recreated in thick cardboard joined together with masking tape.

returning the the texture collages for inspiration, a second 3D element was created. The form is made from wax and the same thick cardboard. It takes the shape reminiscent of a caterpillar with exceedingly well defined dorsal segments.

As can bee seen, the creature has been placed inside the reproduced corner, lurking almost out of sight.

This placement evokes a slightly paranoid feeling. the same feeling induced by the memory of groping around in the dark for the light switch, only to discover instead something unexpected, hairy and oddly squishy, something scarily unidentifiable and.....Alive.

Step Two: Linear Destination

Bring the newly drawn object from step one into three dimensions.

Choose a material which is at least 4mm thick, one or more methods of joining as needed. Choose pigments which are the same as those used in the final drawing.

Add to your list of colours the same colour as the square of paper. This MUST be incorporated into the object.

Begin constructing the 3D object.

In this case the paper itself was glued onto the object.

Build up the thickness and shapes of the object as feels natural, let it grow.

Experiment with carving, sanding, cutting, breaking and creating different textures.

Once you are happy with the form, Begin adding colour.

Experiment with different thicknesses and transparencies of colour. Try creating depth with artificial shadows and highlights.

Remember to pay attention to the back/bottom of your object.

Once complete, step back and enjoy the final product.

Start to look for new forms implicit within the new object. They may spark off the creation of a new piece.

Tomorrow, try drawing the object you have just created, following the same steps you have just completed.

Multiplicity

The models below are a quick exploration of the possibilities and limitations of plastic chopsticks. How they responded to being cut, broken, carved, glued, scratched and bent.

The nature of the material is one of identical repetitive form and shade of colour. This lends itself to a design based on the strengths of the material. The shape of each chopstick made it ideal for stacking, layering and creating frames and repetitive forms.

Informed by the models, pictured above, the three variant designs for a necklace featured below respond to the themes of the multiple and repetition and to a need for wearability. They are designed to be made from the same plastic chopsticks as the models, once again playing to the strengths of the material.

The process of making will be very similar to the making of the moquettes too, involving, mainly glue as the method of joining. This will be coupled with silver or stainless steel links to provide movement and allow the necklace to mould to the wearer's body.

Strange Fruit

Using the Cohesive fragment collage drawings as inspiration, we created a 3D Object, once again using materials found in office supply shops.

The object is a fruit. Real or imaginary. They are worn as brooches.

This example hangs off the wearer, through a button hole, off the collar of a shirt.

The shadows cast by this piece are an integral part of the brooch, bringing an ephemeral quality to it. Also as the shadows move in conjunction with the changes in light source, they impart a sense of the time elapsed during the ripening period of the strange fruit.

Flower Sewn of Shoe Flesh

Pictured below is the one spare piece of cloth that was left over after creating the Worry Doll neckpiece.

The stage by stage progression of the folding, rolling and sewing of the flower is the main point of interest, the evolution or growth, rather than the object itself.

At stage 1. the fabric has no real resemblance to floral forms.

At stage 2. the bud-like form of a flower is evident.

At stage 3. the 'petals' have begun to curl and open.

At stage 4. the bud has opened in full bloom, revealing the inner texture and colour of the inside surfaces of the petals.

Stage 1 a.

Stage 2 a.

Stage 2 b.

Stage 3. a.

Stage 3 b.

Stage 4 a.

Stage 4 b.

Paper Rights

Here are some experiments with paper which have prompted a call to the United Nations to hold a summit for discussions on a bill of rights for paper all over the world. Whilst people are pushing hard, the mood is gloomy however, as memories of the resounding failure of the Climate Summit at Copenhagen are still weighing heavily on the minds of many.

There is opposition to the call for reform on paper rights however, with many leading specialists advocating that paper has to under go such strenuous treatment in order to rise to it's full potential.

Paper; scrunched, torn, folded, rolled, cut, glued.