Documentation; 23/02/16

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I have began to experiment with how to display my wood, wool and crystal sculptures in a gallery setting. The vitrine is an effective means of displaying the work as it removes it from it’s outside environment, and objectifies it through the use of it’s display case. It is worthy of looking at, and therefore, becomes more important as an object than the separate pieces are. This ‘binding’ of concepts, both in the figurative and the physical sense, creates an otherworldly object that resembles many things, but does not explicitly look anything; therefore, allowing different ideas, concepts and developments to form and mutate within the mind of the viewer; through it’s abstraction, associations are made, and therefore, the work is more successful. this means of creating the work is very interesting, but it is debatable as to whether this is the ideal way to display the works. As a vitrine is so costly to make, and especially to make to such a high standard without any experience, I may have to look to other ways of displaying the work, which do not rely so much on costs, and can showcase the work interestingly and more importantly, delicately.

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A series of experiments with fruit and crystal solution; after discussion within my gap crit a few weeks ago it was suggested that I attempt to work with other ‘deceased’ objects, in the sense that they are decomposing. This has resulted in me attempting some experiments with fruits. At the moment, they haven’t really began to rot, so I’m just waiting for them to decompose and see the effects on the fruit’s ‘corpses’.


This is also an experiment with creating red dyed crystals, in order to simulate the rich colour of the Ferrocyanide crystals, with the ease and relative cheap price of the Urea. Surprisingly, this was very effective, and produced a beautiful set of crystals that resemble the fluids excreted by the ‘bleeding tooth fungus’. this has resulted in crystals that accurately portray the ‘poisonous’ connotations of the growths on the wood, but aren’t as natural as the faint greys and browns that are found in the crystals as they grow off of the wood’s rotting surface. this is an interesting avenue of exploration, but does not create the fragile connotations found within the white crystals.

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There is also this sculpture that I am crafting; after discussing the vitrines that I originally intended to use within my work, and the relatively high costs it would take to make them with Andre, I have decided that I will experiment with a larger form of sculpture. He suggested that this may be an interesting avenue for exploration, and I have to agree; I have held an image in my mind for a while now, and it is of a large tree-like sculpture that has been fully, or partially covered in the crystals. I often work in a larger form, and the sheer size of the tree, couple with the delicate covering of the crystals, will be an interesting duality; as well as an interesting abstraction of the wood’s form. I hope to create a sculpture that either rests or is is suspended in a dark space, as this would further accentuate the strangeness of the work; and therefore, become more subjective.


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