Weeks:
Studio Documentation
Week 8 (15th - 19th Nov)
Clay Sculpture - Update
I had to keep the clay wet to continue working on it for many days when making this sculpture, and I decided to let it dry out to see what would happen. Here are close up photographs of all the exciting cracks that appeared. I also noticed that the wire that I used started to rust, creating an aged effect.
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I did this as I didn't know what terracotta clay would do when dried out. Since the sculpture couldn't be p0ut through a kiln as metal is in the sculpture, I felt that the only option was to leave it.
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I like how the sculpture looked after the drying process. The naturally formed cracks gave the sculpture a natural atmosphere—reminding me of draught in warm countries. With the metal, I think the cracks complement the overall look. Drying out the sculpture made it very fragile.
Futher plaster experiment
I started to think of a way to use plaster to change something geometric and has a lot of straight lines and soften the shape using plaster by letting it fall by pouring it. Similar to what I did with the large polystyrene and plaster sculpture.
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I started by creating a shape to pour the plaster.
I made the two structures using cardboard and leftover polystyrene from the sculpture experiment before. I stuck the pieces together using double-sided tape. I decided to use tape as I was thinking about the weight of the plaster when it dries. When pouring the plaster, it will link the pieces together, and it will be steady as the weight will push down.
I used the same technique of pouring the plaster from my hand on this sculpture, and I manipulated it to look like it's pouring from the top of the "tower".
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I think the experiment was well done. I like that I took something geometric, and I changed it by creating a softness, and it reminds me of a waterfall or a smoke intense. Even though I like the outcome of this experiment, I will not continue to experiment on sculptures. I decided to concentrate on painting with 3d texture instead as I enjoy painting more than sculpting but will take all that I've learnt from that experience.
Paintings with Plaster - Small Canvas
I started by prepping the canvas by giving each a different base coat. I am using old canvases that I found in the university. Add enough paint to coat the work that was previously on it.
I mixed some plaster using a bowl and an art knife. I used the art knife to pick up the plaster and drop it onto the canvases creating these blobs. I wanted to keep using circles within my work which can be seen from week 1 but also dropping the plaster in that way just formed natural circles.
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A problem occurred when the plaster dried. The plaster didn't stick onto the canvas surface and would slip off. I learnt from my sculpture that plaster could not stick onto flat surfaces. After a week of struggling to answer this problem, I came up with sticking the plaster using PVA adhesive. It's quick-drying, clear and very strong. It was enough to keep the plaster on the canvas, even on the wall.
I planned to use colours that complement each other. I experimented three colour combonations.
Instead of dipping a flat brush into the acrylic paint, I applied the paint similar to my first acrylic experiment. I dripped the colour from the tube directly onto the canvas. Then I would drag the brush through the canvas between the plaster without colour. Through this action, the paint mixes, creating different shades of purple, blue and red. When dragging the brush, I choose a fluid path between the plaster mounds, moving but not taking the brush off the canvas until I have finished that path. I didn't plan to move the brush; I created the routes out of instinct.
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I found through this method that whatever colour I used needs white added to it, and it creates pastel shades that can't be made without it and brightness compared to the single block colours of the background.
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Through my other experiments, I have found that the plaster being all white creates a lack of depth and texture when the plaster mounds create different surface levels. The levels can only be distinguished when you look at the painting in person, and you can see the change in level when you alternate the angle from which it is being seen. To solve this, I decided to add paint to the plaster. I only brush the plaster with a small amount of paint to accentuate the shape; I do not add more than what I think is necessary for the piece. These close up pictures show the difference before and after paint.
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I felt it was a great way to elevate the paintings without overdoing them and putting the painting under stress. I think this technique creates a balance in the composition.
To accommodate the different shapes of this canvas. I thought adding the plaster moving from the middle to going out would make more sense in composition.
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I would improve this piece by making the plaster mounds smaller or painting on a larger square canvas. Because it is so large, you can't see what I was aiming to do.
When the pieces are placed side by side, you can see the difference in the plaster placement.
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I think that these experiments were successful. I enjoyed problem-solving along the way as I didn't pre-plan the outcome. A way to improve these pieces is to create them on a large canvas or a different non-geometric shape. With the size of the canvas being negligible, it feels too restricted. With more space, I think it will allow my painting to flow, creating that natural futility that I am searching for.