Forgot to take photos before I fused the two forms together. Using the blue form form that I had CNC’d, I had help in creating a second fabric shape, which I fill with rice to create a collapsible former.
I tried connecting the two forms , using heat to fuse them together. I’m pleased with the outcome, as it has a similar form to the previous use of acetate, but is more visible, and more easily connected to the outer shell piece. The opening is still too wide to fit through the hole easily, so I will need to find a way of making it narrower, either by reducing the quantity of angelina fibre, or by shrinking the size of the former.
Using both the new former and the newer version of the illustrator file, I made the basic shape of the outer shell. Despite breakages, I think the design with 3 parts (rather than with 2, above) works better. The tails are thicker in that version, which allows for more control due to the slight elevated heat resistance; in the 2 part version they curl up and become out of control. When the quality of the laser cut itself is perfected to the point where I don’t have to force everything out of the main sheet, I’m confident that it will look good. The finish of the acrylic is rough and chipped due to the fact that even after 3 passes, it still didn’t cut all the way through. I will either need to tweak the settings on illustrator, or in the laser cutter bed itself.
While I am not displeased with the overall shape of the shell, thanks to the former it is now far more uniform, I think that the height of the embellishment could be adjusted so that it is a little lower down. I also have yet to see how the twisted lower section looks with the feather-like addition.
Masters of traditional glass techniques in venice create these beautiful chandeliers and wall lamps from long tubes of glass. the way they are assembled is of particular interest to me, as the forms become very architectural when all glass components are together. The different layers of glass create interesting reflections and refractions with the light inside it, and the round shape of the tubes causes distortion.
Each piece has a small hoop in both ends, which is used to hang them from a frame, to which the light source is also attached, so that they curve around it. The pins that the glass pieces hang of have a bead of metal at the end to stop them from falling off.
The handles for these british glasses, from about 1740-70s, are produced by using very thin pieces of opaque glass, heating them till they’re molten, then twisting them together along with clear glass, and then rolling it while it’s still hot to create a smooth outer surface with a vortex like design within. This technique is known as ‘enamel-twisting’, and the lines can be incredibly thin.
This relates to my own work in the process of making. I could take inspiration from this by using different thicknesses of acrylic rods, and using various different colours to create interesting effects.
From Chipboard, I created a former using a spoke that I particularly liked from my old hand formed design. With just one layer of wood, it’s just about wide enough to form one, two at a push, at once.
Using the remaining chipboard, I made the former broader so that I can make sure more spokes fit around it at one time.
With the broken parts of my test piece for the new outer shell design, I tried out how it looks on the former, and how easy it is to bend and twist the thinner parts. The new design is a bit more fiddly to use with the former, especially with gloves that are meant for hands twice the size of mine (I will have to buy my own), but the shape it produces is good. The thin ends are very easy to manipulate, and with the feathered end it has more weight than before. I will need to see it in full before I decide whether I want to keep them there.
The artist from the gallery has created some interesting lighting using what looked like neon inside glass tubing, with kinks and bends in it, to add visual effect. I wish I had been able to see this in a darker space, but the white of the surroundings gives it a pastel aesthetic which contrasts well with the rougher, stone of the round shapes.
The iridescent fused glass piece is presented on a polished square of acrylic, to provide it with contrast from the white tabletop, and give a slight reflection underneath it, so that the viewer is able to see it from more angles without touching it. I like the way that this extra component frames the work, and would like to do something similar with my own.
This work was displayed in a box built in the main exhibition space. one side was open, so it wasn’t naturally dark, but the interior was painted black which gave it a lot of impact. Since the glass was UV lit, it stood out very well against the dark backdrop. I really liked how it was set apart from the works around it.
This ceramic artist has very busy work, with a lot going on. One of them is presented against a black acrylic oval, which ties the details together and makes it more cohesive. With a lot of components put together, it will be good for me to consider how I can make it clear that they all belong together by the way I present it.
This work interests me because the presentation is part of the work itself; the laminated frame has been built as part of the ceramic artwork housed within, and not as an afterthought. The parallel thinking of this work is interesting to me, and I believe that as soon as you start to make something, you should be thinking of how other people will look at it.