We went to the exhibition on ‘Forge’ in Craft in the Bay this morning. I was pleasantly surprised to find that there was a few sculptural pieces in this exhibition that related to my concept in BAMS in my Subject area. I found that I was so focused on my concept for BAMS, that my perspective of the pieces seemed to relate more and more to my topic.
The titles of my work have been carefully chosen and once printed out, I set to applying them to mount board, ready to exhibit my work for my deadline today at 4pm. This was the halfway stage, as I was finalising the titles and moving onto my assessment form and artist statement. All of these are now successfully and neatly applied to mount board and in place.
When I was investigating World War 2 headlines for my Lazertran experimentation, I thought of this visual aesthetic to incorporate into my work and started sketching out a layout for a newspaper article.
After experimenting with the layout, using blue tac to ‘pin’ images to the black drop, I started to play around with different titles, events and topics that were present during the 1939-1945 timeframe, primarily focusing on the middle point before WW2 ended.
The arduino is set up, supplied with a power-supply and works with the interactive features as planned, written in the programming and coding. I thoroughly enjoyed setting this up, as it has finally been finalised and no longer a stress for me (the programming took large quantities of time). I am exceedingly pleased with this outcome and it has demonstrated a development of new acquired skill-sets and concepts for myself as a maker.
My coding for the arduino is finished and does work. All that’s left now is to go down to FabLab Monday morning to get LP’s help on setting the arduino back up as Aidan Taylor isn’t available to help. Once this is done, I just have to use conductive paint to trigger the capacitive sensor and trigger lighting. Then I have to mount the arduino and bread board into the underneath of the board which will be their home. Everything will be out of sight and will look sleek.
The display board, made from scratch, was painted white but I have decided to use black vinyl to put over the top for a more sleek, professional finish. The black was an incorporation to the design; as the sensory toy looks quite spaceship like, I decided to go with the theme of it and have a sort of galaxy feel to the display board. The black is also a nice contrast to the lights from the trigger sensor.
Not much is left to do once the arduinos set up to go and this won’t take no time at all to assemble everything.
With my deadline nearing, I have been finalising my outcomes for Subject. Following on from my last post, the poppies have had two layers of a PVA-solution and two coats of a primary, block red.
By adding extra to my mounted hands, the body of work has become stronger. I have decided to display them this way, to visually communicate the uniform of a soldier; lined up in rows. Also, the position of the poppies represents the lined graves of soldiers who sadly lost their lives.
All of my pieces now have titles and they have been adjusted onto mount-board for exhibit. Nothing else needs finalising, as my main piece is complete and just needs reconstructing on Monday afternoon ready for deadline and my abstract, smaller piece Winds of Change is still the same. There is debate in my head on whether or not I will be pulling this piece from exhibition as it is the weaker sculpture out of my 4. I will make this decision by Monday morning.
Disobedient Objects was the title of an exhibition in the V&A in September 2014. The exhibition examined the powerful role of objects in movements for social change. It demonstrated how political activism drives a wealth of design ingenuity and collective creativity that defy standard definitions of art and design.
This Field project will combine a reflection on the disruptive potential of objects. The notion of disobedience will be explored in two main strands:
- as a stance against authority, where the object or its use challenges established order and power structures, facilitates expression of protest, contributes to social change or disseminates ideas.
- as a feature of the objects, where the function and functionality is not what would be expected from the object, the gadget rebels, the connected gizmo is irreverent.
The disobedient objects in the V&A exhibition share a DIY aesthetic, they were often made in urgency on a shoestring budget, compensating low-tech quality with high inventiveness. Similarly, the objects that will be constructed during the field project will be largely made from recycled and cheap materials, with a “quick and dirty” approach.
Paul Granjon and Jon Pigott both make active objects using a combination of techniques that include programmable electronics. Although not a compulsory aspect of the project, you will be supported to use DIY electronics and open source coding using the Arduino (a non-commercial, community-driven set of technologies designed for people from all backgrounds, not only for engineers).
The sessions will mostly take place in the FabLab where you will be able to access laser cutting, 3D printing and other digital manufacturing technologies.
Overall we will encourage upcycling, recycling, lateral thinking, reverse engineering and dirty hands.
The participants in this project will work in small teams and make one or more disobedient objects that will be demonstrated at the end. First they will be asked to identify a situation that needs addressing, an imbalance that needs balancing, a voice that needs to be amplified, a force that needs to be resisted, a design thet needs to be laughed at. They will imagine, design and build an object, set, or device to put things right or break things even more using a wide range of hand-made technologies ranging from gaffer tape to programmable LEDs to crisp wrappers to servo motors.
Throughout the project an open, critical, sharing and questioning attitude will be required. Participants must be prepared to work in small groups (4 to 5 students). Technical demonstrators will provide fabrication and programming support throughout. A series of short thematic lectures will delivered by the academic staff. You will be encouraged and supported to include Arduino and open source programmable electronics in your object. You will be equally encouraged to used found and recycled/upcycled materials and adhoc construction techniques.
The Sustainable Artisan
This project will focus on the use of sustainable materials in the design and production of artefacts for the domestic context, this will include furniture, lighting, storage etc
Focusing on a mixture of contemporary and traditional hand making processes students will develop a skill set, working with tools, equipment, increasing their tacit knowledge of materials and processes and their understanding on how these impact the environment
These skills will be made relevant to professional contexts and there will be an emphasis on applying knowledge to practice as a professional furniture designer maker. This project would be supported by studio visit to practitioners and also investigate existing markets for such skills and products.
Also available through the medium of Welsh
Working prototypes and artefacts of a professional quality.
Art & The Conscious Mind
This project will consider the links between the nature of art and the human mind, in particular the conscious mind. Using examples from several creative fields, the course will investigate some key debates in contemporary science and philosophy about the function and operation of the mind, the place of consciousness in the world, and how creative practitioners can contribute to these debates. Key topics to be covered include perception (especially visual perception), awareness and self-awareness, the location of consciousness, how reality is understood and represented, and how artists and designers have modified and manipulated our minds.
The project will be delivered through a series of presentations and workshops, and will include practical activities designed to elicit creative responses to the issues being discussed. Practical activities will include workshops on mindfulness and Eastern theories of consciousness, immersive technologies and artworks, and how design objects can affect our states of mind, including through humour.
- A wide understanding of contemporary and historical debates about the human mind
- A deep understanding of how artists have interpreted and affected the human mind
- Practical experience of different conscious states
- Practical work based on the students’ interests and the ideas presented
The Grand British Tour
The Grand British Tour is an opportunity to visit some of the the most renowned museums of Britain and work with their collections to create your own cabinet of curiosities – a Wunderkammer.
The project will be launched with a series of lectures, seminars and workshops exploring ways to engage creatively with museum collections.
This will be followed by a series of museum visits you will generate research, ideas and inspiration for further development. While documenting a range of artefacts, you will be invited to focus on three from each collection that have particular significance for you.
Possible museum visits may include, Pitt Rivers, Ashmolean, Welcomme Trust, Courtauld Institute, Wallace Institute, Fitzwilliam, Kettles Yard, Hanley Museum Stoke-on-Trent, Yorkshire Sculpture Park, York City Art Gallery, Manchester City Art Gallery, and Whitworth Gallery Manchester.
The work will be developed through group tutorials and directed towards subject specific project development.
- A body of research work pre and post visits.
- A reflective blog.
- Clearly articulated project proposal related to subject area appropriately evidenced in presentation.
• Location: Locations around the UK
• Duration: approximately 2 x 2/3 nights
• Estimated cost to students: £100 (+ daily subsistence)
NB. the cost above is an estimate only and may be subject to change.
These Level 5 modules are the ones that primarily interested me from the Field Fayre. I found this beneficial as I got to speak directly to the people who ran each module and feel I can make a fully educated decision.
My main choices are:
Term 1 – Disobedient Objects
Term 2 – Art and the Conscious Mind
My secondary choices are:
Term 1: The Sustainable Artisan
Term 2: The Grand British Tour
I am thoroughly interested in my main choices, because for Term 1, I want a more hands-on project that involves Arduinos and a practical, physical outcome. Also, this module looked a great deal of fun and after dabbling this year into the basics of Arduinos and Capacitive Sensors, I am intrigued to branch out into this area a bit more.
For Term 2, I am very interested in a more theoretical, philosophical and physics based module. I feel this choice would be highly beneficial, as it would help develop critical, theoretical, spiritual, philosophical and physics based way of thinking, and would help support Dissertation Proposal and Constellation.
My secondary choices do not appeal to me as much as my first choices, but, it is always good to have a backup plan as there’s no guarantee a module I wanted would be picked up for next year if numbers are low.
Following on from the Easter break, I am now finalising my outcomes for both Field and Subject for my deadline, that is in 2 weeks time. (6th June).
With time still available to me, I decided to improve one of my outcomes in Subject – the mounted hands. I painted the boards white and still felt like they needed some extra pizzazz! I have done extensive research into the Poppy Appeal and the connection between Flanders and the war, so started wondering if I could make plaster of Paris poppies for the bases of my mounted hands.
(Boards after I painted them white.)
Finding a sculptural frame for the size of poppies in mind, I wanted to create was the next task. At first, I tried pouring plaster that was in a setting state directly onto wooden boards and slowly incorporating copper wire into some of the setting pieces.
However, I found this wasn’t quite the effect I had wanted and they were not as 3D as I had hoped for. I have set these aside and kept them around, as I have no doubt I will find another use for them. Moving on from this, I then tried using cut and shaped card to pour plaster directly into; that way, the card would act as more of a support structure for the poppies.
These instead, looked more like fried eggs, and I was back to square one. Despite them not working out, I too, have kept these around. I felt a little dejected by the lack of an outcome I had desired, and then decided to try use objects with small, curved lips to see if that would have any effect. I also tried pouring directly onto the board again to see if there was a technique to it.
After sometime of trying to figure out how to sculpt plaster poppies that were more 3D, I started looking at chicken wire but I felt the gaps between each hole was too far apart that the plaster would seep through. I did find a small piece of chicken wire around the studio and then went to ask Martin if he had anything similar, but with smaller gaps. This is when Martin handed me two small sheets of aluminium wire, which was a lot more bendy and flexible – perfect for sculpting!
I cut up small amounts of the aluminium mesh and with masking tape, created small meshed circles. Once I had about 6 or so of them, I went down to the plaster room to further experiment with this idea, feeling a bit more hopeful than the dejection I felt from the other ways failing.
I was very content with the outcome of these and once I removed all the excess mesh and clay, I started to smooth them off, using the grater in the plaster room. Once this was done, I took them back upstairs to my studio space to air out and dry.
Now I have let them dry all over the weekend, I will no doubt be creating a PVA solution for them and painting them red and black to represent poppies. I feel they give the mounted hands a bit extra added to them, rather than just hands on a metal rod, mounted on plain boards. They look more finalised and polished than before and I am quite pleased with this. I enjoy being able to stack them or arrange in a variety of ways, as there’s endless possibilities and different arrangements I could try. It also breaks the metal rod away from the base when you make direct eye contact with it.
For Field, my prototype is nearly complete. I have had another two sessions with Aidan and will be meeting with him again this week, with hopes that everything is nearly programmed and accomplished. I have loaned out an Arduino from the university for my exhibition and picked this up from Mal Bennett in N-block on Thursday morning.
Now with one of these in my possession, I was finally able to move on with the display board for my prototype. Having the physical arduino itself was important, because I needed an approximate size to chart out where everything was going to go.
I also started to sketch out the prototype itself, where it was going to go and what section needed holes drilled into. By mapping out where I desired things to go, made my life a lot easier when it came to actually physically drilling the holes in. I just had to line the drill up with my map and proceed.
The ‘x’s are where the drill was marked to go through and the right is all mental reminders for myself when it comes to installing the wires and arduino. I am hopeful that everything will be complete by this week, or the latest, start of next week, as that way, I have about a week to do ‘damage control’ and extra tweaking, as well as create my sketchbook racks.
I am going to discuss a breakdown of my outcomes for Subject and Field. I will discuss briefly how I have got to the point where I am at with my projects, and outline what still needs to be completed before deadlines.
A two-part series of plaster cast hands, mounted on wooden boards and thick metal rods. They were made by pouring plaster into marigold rubber gloves. Once set, I sanded them down to remove the imprint of gloves. Drilled individual holes into the bottom of each cast and attached them to metal rods. The wooden boards were drilled into and they were fitted.
The next and final phase for this two-part series is lazertran process. I will image transfer newspaper clippings of headlines from the war-torn 1940s.
Winds of Change.
An abstract sculptural piece. The concept is sails in the wind. Casted entirely out of plaster, Winds of Change was made by pouring plaster into solid square slabs, where one slab was sawn into right angular triangles. They were drilled into and are fitted together with small metal connectors, however they can still be moved and dismantled. This piece is a finished outcome.
Developed by walking around Llandaff Cathedral, imprinting clay into walls and trees, The Camps was then casted in plaster. The terracotta clay seeped its colour into the plaster, which gave it its earthen texture. Connected by visible metal rods, This signifies the connection between each concentration camp.
I am going to be using the lazertran process to finalise this piece. The 3D reliefs will be dismounted from the board, in order for me to image transfer the map of Poland. The plaster reliefs will then be placed back on the board. Once this is complete, this outcome will be finished.
This sculptural piece is influenced by memorial sculpture. Casted entirely out of plaster, the plaster base was casted in the same manner as Winds of Change and connected in the same manner. Through alginate casting of two people’s hands, I was able to take the hand casts into plaster. The only differentiation from my other outcomes, is this one will incorporate light.
This piece is near finalisation; the only thing left to complete is fixing the lights to the metal connectors, so they are unable to be taken, removed or altered.
A work still in progress, this prototype is designed to fixed with light and an interactive touchpad. The arduino and battery will be hidden by a wooden hut that is still to be developed, and all the wiring will be hidden underneath the wooden board. The lights will be fixed underneath, with specific holes that will be drilled. There will be a slight dip in the top of the board, so my prototype can be placed into the dip to prevent it from being able to slip or slide around the board.
There is still some considerable work to be done on this. The only things left to do is build the hut for the arduino to live in, program my lights and fixture all the wirings. Once this is done, I can see this being a sleek way to display my prototype.