Iteration Set 1

My first set of iterations with a start point of a piece of foam packaging. These have developed continually on multiple levels, experimenting along multiple wavelengths to further understand materials and form.

1. Start point - a piece of foam packing which had such an unusual shape whereby the negative space was the same as the positive; I had to explore this further. This I did by casting the inside and then creating a mould from the orginal cast enabling me to form replicas.

Process

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2. The Seven Billionth Citizen Exhibition in the Hartley Library, Southampton. Responding to the news that the population has just exceeded the 7 billion mark and the effect this will have on our climate and economy.

Process

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Final Outcome

Final Outcome

3. Using a vacuum former to manipulate High Impact Polyester (H.I.Ps) to create thin singular-sided replicas of huge contrast to the thick and heavy plaster ones.

Process

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4. Incorporating light beneath the thin plastic allows it to distort your perspective of the shape above it as well as exaggerating just how translucent the material is.

Process

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5. The more casts I made from the moulds, the more the moulds started to disintergrate from the overusage. This led to a deformation of the resulting replicas - an interesting natural evolution of the shape.

Process

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Final Outcome

Final Outcome

Final Outcome

6. Instead of just using vinyl rubber for what it was meant for, I started using it in an unconventional manner by dipping the plaster replicas into it. This resulted in the rubber bubbling with the difference in temperature, covering the plaster in a texture completely contrasting its orginial one. With so much potential in this, I started developing this process and material further.

Process

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7. Continuing along the thread of using vinyl rubber unconventionally with the plaster, I connected large casts together using plaster as a glue and poured the rubber over the top to form an aesthetically pleasing sculpture which also borders on the interactive with the difference in texture.

Process

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8. Continuing this onwards again, I created a white wooden base which held the weight of all of the pieces of broken plaster casts I had used since the beginning of the experiments. This was a way of using up the remnants while removing them from my mind allowing me to move onwards further without being hindered by the potential residing in the casts.

Process

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Final Outcome

Final Outcome

Final Outcome

9. 2 months on and creatures are starting to make the sculpture its home.

Final Outcome

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10. 3 months on; the sculpture has collapsed part way under the strain of the weather showing the underside of the rubber. Algae starts to grow.

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Final Outcome

11. 6 months on; snow has taken it over masking the original form.

Final Outcome

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12. Experimented with casting resin and placing coloured acetate in front to alter the colouring of it physically without using post-production.

Process

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13. Creating an interactive piece for "Beyond These Limits" Exhibition, where multiple plaster casts were placed on the floor in sections so they slowly degraded to dust at the end. As people walked on it, over time it disintergrated further until it became unrecognisable. I was curious as to how the audience would react to an interactive piece.

Process

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Final Outcome

Final Outcome

14. With the notion of expanding the shape further outwards and building up the scale, I cut and sanded 6 blocks so they fitted together exactly meaning that once a mould was created I could cast multiples and fit them together to form an expansive sculpture which moved into the surrounding space.

This developed still further to cast in wax which was covered in grog, plaster and raffia gauze to create an open cast mould to pour aluminium.

Process

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Final Outcome 1

Final Outcome 2