Intuitive Sense of Connection
2015
160cm (width) × x 160cm (depth) x 135cm (height)
160cm (width) × x 160cm (depth) x 135cm (height)
photographed on locations at Sculprture by the Sea Cotesloe and Bondi, Crown casino and Blue Studio Ceramic residency
Concept & Design
Intuitive Sense of Connection will be based on the geodesic dome again...I feel that I have just started exploring the structure and I still have a long way to go. Well, at least this time the starting point is a bit further down the path, in comparison to the Shape of Thought.
I need to begin by considering the welded frame first, as that will influence the shape of ceramic triangles.
This time, the idea is to use steel flats instead of brackets, welded together into some sort of a net, to which I will be able to bolt ceramic pieces in similar fashion to the work on the photo.
Instead of scanning pages and pages of sketches to illustrate the thinking process, I will present you with the 3 finalists:
I need to begin by considering the welded frame first, as that will influence the shape of ceramic triangles.
This time, the idea is to use steel flats instead of brackets, welded together into some sort of a net, to which I will be able to bolt ceramic pieces in similar fashion to the work on the photo.
Instead of scanning pages and pages of sketches to illustrate the thinking process, I will present you with the 3 finalists:
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For aesthetic purposes, I favour "Y" shape for the steel frame. It will be possibly more difficult to construct than "T" shape ( more welding), but it's symmetry makes a good base for the ceramic triangle. |
Construction
his is the "lazy mould maker's" way of making the framework for pouring plaster: the walls are made of polystyrene held in place with bricks, and clay. It is quite flimsy, but it works because I pour plaster into the mould just before it sets, so it is not very liquid and it stiffens within couple of minutes - not leaving it lots of tome to seep through the seams.
making of the clay tiles:
glazing and firing
Sometimes I think painters have it easy. They can mix the colours on a palette, test them on the edge of the paper and immediately know what they look like. I know, I'm (slightly) oversimplifying. For us, testing means starting from the raw ingredients, recipes and good set of scales, sieve and a dust mask. First set of tests are done on small tiles or bits of broken bisque fired shards and selected glazes are then tested on larger surfaces.
breakages and moving forward
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About the half of the bigger triangles have cracked in the glaze kiln. I have no explanation. Pieces were on different positions in the kiln,on different thickness shelves, cracks are on different positions on the triangles. The only thing the same is that they are all on the bigger size triangles, the one which has almost equal sides ( but not quite).
I have "lost" another 50% in the second glaze firing. If it continues that way, instead of making 90 triangles "A" I will have to make almost 180. Not acceptable. I remember attending a workshop by UK potter Peter Hayes, about a decade ago if not more... I thought of him now, as at the time he was making large raku fired work, broken to segments and glued together with red resin. I have also researched repair methods and Kintsugi .“The term “kintsugi” means ‘golden joinery’ in Japanese and refers to the art of fixing broken ceramics with a lacquer resin made to look like solid gold” (….and often actually using genuine gold powder in the resin).Some contend that many Japanese have come to cherish the imperfection of a broken pot repaired in this way….seeing it as a creative addition and/or re-birth to the pot’s life story. Others say that when something has suffered damage and has a history, it becomes more beautiful. I appreciate the philosophy and historical connotations, but I don't think that gold would work for this particular sculpture. Lakeside Pottery has an excellent web site on restoring broken pottery ( among other goodies), and I decided to give it a go....with red resin. The result was quite surprising... Not so much visually, but how it changed the interpretation of the work (as tested on the family members).While before everyone saw pieces as vaguely organic, those with red resin look hurt. They actually invoke empathy from viewers. Sense of exposed flesh, but luckily, no gore and oozing blood.... |
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I like it, but do I dare incorporate it in the work?
To be on the safe side, I explored (first in Photoshop, and than on real pieces) some other options. I thought that clear resin might have a chance,but it looks like glueing gone wrong.
Red on the other hand has impact. With it's slightly waxy surface it looks strangely fleshy.
To be on the safe side, I explored (first in Photoshop, and than on real pieces) some other options. I thought that clear resin might have a chance,but it looks like glueing gone wrong.
Red on the other hand has impact. With it's slightly waxy surface it looks strangely fleshy.
metal construction
As the triangles making is nearing end, it is time to face another challenge...metal framework to hold it together. Now I am venturing into uncharted waters and this is the real point of departure from the previous sculpture.
The idea is to have each triangle bolted to a Y shaped metal, and Y shapes connected with the bracket bent to 14 o to create the sphere.
I am a novice welder, but an excited one, and now a proud owner of a Mig welding machine. (Isn't that a wonderful Christmas present for a girl!)
Welding the Y shapes into clusters to create hexagons and pentagons is much more difficult as it is not welding on a flat surface. There are those 14 o brackets in between complicating everything.
The solution was to purchase laser cut metal triangles and weld them together to form a welding template.
The idea is to have each triangle bolted to a Y shaped metal, and Y shapes connected with the bracket bent to 14 o to create the sphere.
I am a novice welder, but an excited one, and now a proud owner of a Mig welding machine. (Isn't that a wonderful Christmas present for a girl!)
Welding the Y shapes into clusters to create hexagons and pentagons is much more difficult as it is not welding on a flat surface. There are those 14 o brackets in between complicating everything.
The solution was to purchase laser cut metal triangles and weld them together to form a welding template.
Installation at Bondi
That is the moment when I realize how monumental undertaking this whole thing is. Am I really here, 4 000 km away from home waiting for MY sculpture to be positioned on the rocks? Exciting. Humbling. Amazing. Terrifying.
Luckily, there is not much time to think about it, as all of a sudden, there is lots to do.
First the skeleton needs to be stabilized. Then weighted down....And than dressed up....
Emma is here to help, and so is my husband. 145 ceramic triangles need to find their exact spot, and be bolted
Luckily, there is not much time to think about it, as all of a sudden, there is lots to do.
First the skeleton needs to be stabilized. Then weighted down....And than dressed up....
Emma is here to help, and so is my husband. 145 ceramic triangles need to find their exact spot, and be bolted
