This week I returned to the Shaun Project Space to make further tests. I wanted to see how the canvases and photographic pieces would work when utilising the wall as picture plane. This exercise has suggested a variety of developmental possibilities. In particular how to use lighting to better effect and how to further utilise elements which extend beyond the frame, as well as, fully sculptural and installation based responses. I have also come to reconsider the canvases themselves. Still unsatisfied with the rather sanitised surfaces and clinically produced shapes, my feeling is that each of the individual elements requires more attention. When referring to earlier woks, the marks and gestural elements that were once so important have almost entirely disappeared. Though the context has evolved, I still feel the need to reintroduce a greater sense of the haptic. Staining and marking the surfaces will be key. Additionally, my digital experiments have revealed elements which could be introduced as interventions in the surface. There is potential for a glitch - a blank 'black hole' - where the information is lost or the reading of surface has failed. The notion of 'the black hole' as well as the idea of lost information are potentially rich veins to tap. Materiality, mass and density. Dematerialisation, evaporation and loss. As the work increases in its geological references, there is an additional sense of time and history which moves beyond recent histories and localised concerns.
Today I spent the morning at FabLab using a 3D scanner to digitise the small maquettes I've been developing in the studio. It was an interesting and remarkably straight forward thanks to some impressive tech! Within the process the software adapted what it scanned, filling in the blanks to fit its coding. I'm fascinated by the idea of collaborating with the machine. The notion that it is participating in the creative process. I have been surprised by my response to this digital exploration so far. I did not expect to find such resonance with my studio practice - the potential for chance and gesture, layering and surface still remain. There is something very seductive about the imagery that the software produces. I'm intrigued by the way the forms have been adapted heavily by the process, as well as the interplay between the real and the virtual forms. I'm looking forward to moving these scans forward into the VR software.
This image shows data captured by a 3D scanner from one of my sculptural maquettes. I was fascinated to see the way the software displayed the information. I was immediately struck by the relationship between the facets as they were presented here and the compositional elements that I have been using in the studio.
After working on a relatively small scale, it was nice to get back to developing some large canvases. I have adapted some of the visual language from the smaller compositional tests and tried to consider the overall balance of elements, not only across each individual canvas, but across the group of works. I'm looking forward to testing these new pieces alongside the others in a clean space. It will be interesting to see if they do work as a unified whole. At the moment, I'm enjoying the way that the photographic elements are working. The illusion of texture and dimension within the flat plane, the play of formal qualities between the individual shapes and even the slight bleed of the inks onto the canvas. This bleeding has made me consider alternative ways of staining the raw canvas and how staining may be the solution to my continued uneasiness regarding the negative spaces.
In an attempt to develop compositional plans, I decided to return to the screen prints. Collaging with a mixture of papers, I wanted to test various levels of translucence in the same way as I had with the inks. I've realised that in working with these elements, I have begun to develop a type of visual code with the various shapes and marks.
Working with a piece of glass which had been formed over sand, the detritus on the studio floor and a sequence of small lighting units, I was able to create these images. I wanted to explore the potential of the glass object and its contrasting surfaces. The surface which had been in contact with the sand while cooling, had taken on a texture not unlike the surface of my own work. The other side, by contrast, was extremely smooth and reflective. The details, compositional and colour elements at play here have an aesthetic relationship to the gelatin prints as well as the
It was great to see the final outcomes form the Wear Ware project. I really like the strong lines in my piece which was developed and blown by Jeff Sarmiento (www.jefferysarmiento.co.uk). As a group they reflect the diverse rage of ideas from the day. Each of the pieces created in the workshop were highly individual, displaying a range of bold colours, patterns and approaches.
I've been considering the potential of layering the works in different ways. Having some space to manoeuvre the pieces was useful and incorporating the raw photographs has suggested some new possibilities to me. The potential of bring these layers out into three dimensional space via physical forms will need further development. I'm hoping to create some fully sculptural pieces in order to extending these ideas into installation.