Friday, 29 January 2010

The Mothership

Following a bit of a crazy dream about these ships, propelled by horse legs, I have been building this one, probably one of the largest things I've made in a while, but although I kept it damp for a week, then I was ill, hence no more detail than the balconies at the back, no canon holes :(. Masts have been made separately, otherwise they would warp too much attached to the deck. They are already bisqued flat for adding after the glost firing.

and it stands up! *high five

Monday, 18 January 2010

Wax over porcelain


This is a porcelain dress with wax dripped over, made an interesting contrast to the bronze dress.


Porcelain dipped repeatedly in wax. Nice soft finish but obviously not durable. I can probably get this effect with a thick smooth matt glaze.

Projection tests

video video
video video

Thursday, 14 January 2010

If You Could Collaborate


Went to the PV. Packed with all the right people. My favourite piece was this system of currency by BCMH & SmithWightman - mainly for the exquisite presentation of the work, lovely text on the glass, added amazing value to the objects. If your going to be a designer, people expect, and rightly so, for you to design the whole shebang.


Also there was an interesting sculpture, that played sounds only when you were further away, the closer you tried to get to it, it doesn't play. Intriguing, and inspiring to see so many people were interested in seeing, perhaps wacky and off the wall collaborations.

Wednesday, 6 January 2010

Tamiko tutorial

Presented: video projection onto globe, photos of work made so far, photos of work from before Masters.

We spoke about my proposal and how it was very heavy and serious and pulling down any of the practical work that I was making as it was impossible for the real work to live up to the ideas expressed in my proposal.

Tamiko's advice was to put the proposal to one side for the moment and concentrate on expanding some of the ideas I have started with my practical work. Take the most promising experiments and really push them in all directions to explore and develop making ideas.

Coming from a design background I have launched myself straight into a philosophical and scientific debate and although my ideas are interesting, it has the hallmarks of someone who has recently begun thinking as a fine artist. I need to acknowledge and appreciate my background and the fact that the work is still reflecting this more playful side and somehow merge this work with the key points in my theoretical debate to create a cohesive whole.

Maybe, after I have made some more pieces (that are photographed properly - valued by me - and in a way that the magical elements and qualities that can start to be seen in the flesh, are represented in the presentation of the work) I need to change the objectives of my proposal - perhaps to have the core idea to 'enrich my work through a study / exploration of fantasy and dreams'. Also writing about desirability of the objects and materials. Explained that confidence in my work had disappeared, I need to not be negative and see that I have made quite a lot of work and it is not all 'not working'.

Recommended book: On Longing by Susan Stewart.

Tuesday, 5 January 2010

End of Unit 1 Assessment

what can I say? this was a bit of a shock. I felt that for many reasons things have not been handled that well about this, from both sides of the fence and I could list here loads of excuses as to why my practical work was not at the level I would have liked but its pointless now. I can only move forward and try to improve it.

I suppose it is easy for me to forget that people can't see into my head and understand what and why I have been researching what I have, and so here is what I wrote down:

Should have presented the sound recording work (which I did not) the voice recording library of the dreams and other sound experiments: the day recording, everyday activities. I also didn't show them the video tests I've done of miniature installations.

So I guess the main criticism was my lack of experimentation with installation environments - although Mike liked the glass globes and could see progression starting from this point.

Perhaps the drawings /text could be combined into the installation? I spoke about experiments with glaze, making it thick like snow to cover the objects and was also asked whether the objects would be coloured.

Most of the recent things I have made are too controlled again, they need to be more unreal, this is something I need to overcome.

I should have 100 versions of things, experiment, production etc etc etc.

I guess I knew from the start that this subject / my proposal is not easy at all and I think many people might not understand it. Also I think that this is has turned into a very personal project which is dear to my heart and I don't think that designers 'get' it, its bordering on a philosophical contribution and its hard for me to pull it back into 'objects'. I hope that tutorials in the new year will be more productive.

Immediate things to do:

  • Properly document all sound recordings
    - transcribe
    - drawings
  • Find a corner in the flat, install objects, lighting, sound - video and evaluate
  • Take one dream and with the drawing, map, narrative text and objects play around with making this into something.
  • Make 5 ambient sounds - and / or my voice sound tracks.
  • Unreal objects:
    - shrinking
    - clay patchy making technique
    - dipping porcelain in wax
    - smoke?
    - video - ink in water