Raised copper bowl with verdigris.

After making a raised copper bowl I decided to create a verdigris effect on the inside.

The outside of the bowl had been polished but the inside was untouched, just cleaned by soaking in pickle. It is difficult to polish the inside on a polishing wheel and I also liked the idea of there being a contrast between the inside and outside.

I decided to take the idea of contrasting surfaces further and came up with the idea of creating the verdigris effect.

Verdigris is a green or bluish-green pigment. Its name comes from the Old French vert de Grece, which literally means “green of Greece.” It was used as the primary green pigment up until around the 18th century. Verdigris is a poisonous chemical compound. I created this effect by brushing the inside of the bowl with Copper Nitrate and passing the torch across it. The depth of colour is built up in layers.

I am pleased with the outcome.

In order to keep the effect it needs to have a coat of varnish over it.

Addition to post.

I also want to look at other materials to mix with this bowl.

I have made a ceramic dish (with impressed rice to give texture) which sits inside the bowl.

I expanded this idea and came up with making a ceramic dish with a 3D spiral.

I made a paper matquette. i think this is much more interesting than just a dish.

Evaluation for assignment, Surface, Texture, Structure and Form.

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DRP Criteria 4

Evaluation.
Surface, Texture, Structure and Form.
Chrystine Jones.
I have absolutely loved this assignment, working with new materials, learning new techniques and experimenting with new ideas.
I began by collecting and photographing objects. Although I liked most of the things I chose, nothing really struck a chord with me, until I photographed the centre of a paper Marquette of a coral.
I began to get obsessed with this image and started to recreate the form I took from it along with the surface texture of the coral. The form I took was a ‘ray’ form. I think the reason I like it so much is because it has a centre and radiates outwards.

After finding and researching Jay Defoe and her obsession with ‘The Rose’ I decided to go back to the real coral and look at it again to see what else I could identify in it, not wanting to get ‘stuck’ on one thing.
On the underside of the coral I saw it had a spiral form. I now had two forms to obsess over.
I started to create spiral objects but the ‘ray’ form kept creeping back and I found myself combining the two. I think this actually worked very well. An example of this can be seen in the copper spiral I made. I decided to add a string element to it (the ‘ray’ form). This added an interesting aspect to the sculpture and gave me the opportunity to mix materials.
I experimented with this combination in other ways including shining lights through sculptures to expand them by creating shadow images.
Ceramics was always going to be a natural choice for recreating the texture found in the coral due to having similar properties. Towards the end of this assignment I incorporated glass as a representative of the sea to give the effect of seeing the coral in its natural environment.
Textiles became more interesting as I expanded on my ideas. I had tried to recreate textures and forms found in the coral (although many in an abstract way). I had dyed, felted and stitched various pieces but progressed to smocking, of which I was pleased with the outcome and then I went on to manipulating fabrics. I am excited with manipulating fabrics and want to explore its possibilities further. The paper Marquette I made ignited my interest further and I steamed fabric to hold the shape. This turned out well. Because my pattern is modular it can be joined together and this could lead to endless possibilities. I also want to cast a mold of this pattern to use in ceramics. My next assignment is duplicating form and I think this could be a good project to begin with.
I am pleased with the raised copper bowl I made but was unhappy with the design, incorporating wires and strings. After attaching them, I took them off. I think they detracted from the bowl. I polished the outside but left the inside unpolished. I am going to create a verdigris effect on the inside in order to add even more contrast.
I free-stitched a cotton sample inspired by the spirals in the coral. I had been looking at ceramic lights and saw the possibilities of the use of it to incorporate into a light shade. As I held the sample up to the light to see the effect I was reminded of the artists I had researched who worked with shadows. The sample cast a faint replica of the form.
I looked at the original coral again and noticed the optical qualities. As you tilt the coral it has a play of light. I researched artists who work with light and movement. I had also looked at the work of Margaret O’Rorke, namely her ceramic light sculptures. I began exploring light, movement and shadows in my sampling. Of the materials I had to hand, the most obvious choice was white, polythene bin liners because of their translucent quality. I have worked with melting and sculpting these before. I made some samples to look at the shadows they produced.
I then made a pleated sample which held the form well so I decided to try the design I had made for manipulating fabric. This was quite tricky to make but I am pleased with the end result. I also incorporated one of my techniques from the shadow samples.
I think this sample would transfer to a design for a light very well. It holds the form well. It is translucent to allow light to pass through and casts an interesting shadow. It also has an interesting play of light which can be seen best by shining a torch at it from different angles. This melted plastic fabric is very versatile and is something I will continue to explore and expand on.

Fresh look at coral, inspiration for current assisignment.

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DRP Criteria 2

I free-stitched a cotton sample inspired by the spirals in the coral. I had been looking at ceramic lights and saw the possibilities of the use of it to incorporate into a light shade.
I held the sample up to the light to see the effect and was reminded of the artists I had researched who worked with shadows. The sample cast a faint replica of the form.
I looked at the original coral again and noticed the optical qualities. As you tilt the coral it has a play of light. I researched artists who work with light and movement. I found Bridget Riley. I had looked at her work previously when doing some research on optical illusions. Bridget Riley’s work appears to ripple, the coral has similar qualities.

I began exploring light, movement and shadows in my sampling.
Of the materials I had to hand, the most obvious choice was white, polythene bin liners because of their translucent quality.
I have worked with melting and sculpting these before.
I made some samples to look at the shadows they produced.
I then made a pleated sample which worked well and held the form so I decided to try the design I made for manipulating fabric. This was quite tricky to make but I am pleased with the end result. I also incorporated one of my techniques from the shadow samples.
I think this sample would transfer to a design for a light very well. It holds the form. It is translucent to allow light to pass through. It casts an interesting shadow. It also has an interesting play of light which can be seen best by shining a torch at it from different angles.
Safety aspects would need to be investigated.

Smocking.

Whilst trying to recreate the surface texture of a Fungia coral I made this sample of smocking.

This is compleatly hand stitched.

I used voile over cotton which gave a 2 layer, sparkly effect.

I am going to embroider over the smocking with silver thread. Finished embroidered spiral form over smocking.

Manipulating fabric.

I have been looking at ways to manipulate fabric to recreate the surface of a coral.

I found this way of folding paper.

I made lots and joined them together to make a circular shape (top photograh).

I am going to use this to mold fabric by placing fabric inbetween two folded sheets and steaming for 20 mins. When it is compleately dry I will unfold it and it should be in this shape. Because this is modular I can join pieces together.

Centre of paper model.

I really like this way of folding. In my next assignment I will be doing duplicating form. I am going to use this. One thing I want to try is making a mold of it and seeing if I can create it in clay.

Here are some photgraphs of voile and silk that I made using this folding technique . They were steamed to hold shape.

Strung spiral abstract sculpture.

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DRP Criteria 2

From a dead coral I took 2 forms, a ray form and a spiral form. Using these abstracted forms I made a sculpture using copper plate and string.

I cut a strip of copper and annealed it. I was going to polish it but I liked the burnished, patination effect so I polished only 1 side. I then drilled holes into it using a dentists drill, for small, accurate holes, spaced evenly.

I bent the copper into a spiral and strung string through it. I tried different ways before settling on the finished one.

When researching strung sculptures later I came across some sculptures made by Barbara Hepworth.