commission opportunity listings

i’ve found a lot of the websites i’ve visited are funding or commissioning bodies of one kind or another who list past and current projects but don’t always have opportunities listings. here are a few that do:

a-n – to view opportunities you need to subscribe as a student (free)

celfwaith – public art in wales

i send you this

london arts in health forum

wales arts international


public art in cardiff

this module should be a good excuse to really pay attention to the public art that’s all around me. planning to cover as much as possible of the council map (under map categories choose environment > public art) and the easily-accessible empty walls project in roath.

a couple of old favourites to get started:

felice varini – 3 ellipses for 3 locks (cardiff bay)

a work that manages to intrigue on all scales, simple but effective. it draws the viewer in, confuses you, forces you to try to make sense of it. so off you set to put the jigsaw pieces together and find the right spot to view it from…

more pictures

(as previously blogged) jane edden – post secrets (the hayes)

as well as enjoying the scenes inside the posts, i really appreciate their understatement and subtlety. it’s very easy to walk past them for months or years without realising they’re there.

the area is central, very busy and the effect on unknowing passers-by of suddenly stooping to peer into a bollard or the kids excitedly racing off to find the next one is entertaining. curious people first pause, confused, and often end up following your lead.

interview with jane edden where she talks about the practicalities and processes involved in making the project, as well as the public response.

making art for the public realm: competition or commission

new project: new blog requirements.

i’ve kept a craft blog for many years but my habit is to post sporadically, usually at the end of a project, as documentation and a way of finally wrapping up, all neat and tidy. my previous field module required just the one blog post at the end of the project but the current one asks for more frequent updates.

so, to start, today’s research task was to identify 5 pieces of public art that in some way inspired us. one should relate to our discipline (in my case maker, a broad church), one should touch on something we haven’t yet explored, and one should be something we have criticisms of.

1. jeremy deller – sacrilege

a bouncy-castle stonehenge which toured the country. this work appeals to me in so many ways. my previous academic background is in archaeology, and my fondest memory of my digging days is a late-night party held in west kennet long barrow. the site is open to the public and we were careful to leave it as we found it, but the combination of transgression (of national trust mores) and participation in a communal gathering left a lasting impression that no number of daytime visits could match.

i’ve once touched the stones at stonehenge (which are ordinarily cordoned off) at a midsummer gathering, which gave me  a similar lasting memory. deller brings a national icon to the people in a way that is simply impossible if it is to be preserved for future generations.

2. heatherwick studio – bleigiessen

the sheer scale of this piece (142,000 glass spheres suspended on 27,000 high tensile steel wires; 15 tonnes of glass and just under a million metres of wire) inspires me – as someone who generally works small – combined with the story of its inception. while the space it occupies (at the headquarters of the wellcome trust in london) is immense, the access routes were the size of a domestic doorway. that’s some design constraints right there.

i wasn’t sure where to place heatherwick studio – as a collective, as designers, architects – most of their work is primarily practical in nature, but always with an overriding aesthetic that says “art” to me. we had a brilliant talk from neil hubbard last term about their design approach which really embraces process and materials. they’re in the business of realising ideas, which puts them firmly in the maker camp imho.

3. taro chieso – superlambanana

aesthetically i can’t relate to the 17-foot tall concrete and fiberglass mutant hybrid at all 😀 but it seems to be particularly successful in term of public art and has been taken to the hearts of the people of liverpool.

this is demonstrated by the proliferation and popularity of a flock of smaller customised versions that appeared on the city’s streets to mark the city’s tenure as european city of culture in 2008.

4. rachel whiteread – house

familiar but disconcerting , ordinary yet extraordinary, quirky and controversial. its construction and destruction were the subject of much debate among critics and the public alike.

5. ruthin art trail

this is my “could be better” work. i was alerted to its presence by discovery (always a good start, to stumble across something that irresistibly draws your attention). a small red tarmac circle on the pavement, set in metal and sparkling in the rain, a small jewel. i wanted to know why it was there.

the internet told me it was a marker for a sculpture trail – intended to encourage the visitor to stop, look around and appreciate the finer architectural points and hidden histories of the medieval market town.

in theory all well and good but the scale of the works (10-inch figures on rooftops, spy holes in walls/doors) seems too small to be effective. my second though was that the size of the work was due to the constraints of installing art in a historic town with many listed buildings, but i must admit my first thought was that it was due to lack of funds/ambition.

the trail hadn’t been fully installed on my last visit and appeared to be greeted with scepticism by locals. i look forward to revisiting the work as it’s completed to see whether the whole stacks up and if the spy holes are as effective as the much-enjoyed ones in the hayes in cardiff.

field project: global cultural collaboration

this field project was supposed to be “going to morocco” – it was supposed to be a photography project. since it turned out i was unable to travel it turned into “what am i itching to make more of?” 😉

the original inspiration was a visit to the alhambra 15 (!) or so years ago. i fell in love with the decoration, the colour, the use of light and space. that trip to spain and morocco influenced my use of hard landscaping materials in our little garden.

brick and tiles

when the option modules came up i figured i could take my interest in origami tessellations a step further exploring islamic tile patterns. i knew they could be translated into fabric and since this was a textiles workshop-based course that seemed like a good direction to take.

origami tessellations in fabric | original design | indigo shibori dyed cotton

then i saw fannie van arkel’s work and realised she did it better than i ever could 😀 so i returned to the paper side of things. we’d constructed some paper models for translating into fabric manipulation, but the quality of those models really inspired me – that simple straight cuts and folds could bring the flat paper to life, give it a more organic form.

paper model for fabric manipulation

it reminded me of a) the sculptural qualities of geometric tile patterning – that skilled designers can map a pattern constructed with straight lines to fit onto curved domes – and b) my previous experiments with pleat tessellations following the techniques of goran konjevod.

pleat tessellations (pureland or organic origami)

i’m pleased with these – each uses the same simple technique but i’ve managed to improvise patterns and to some extent predict how a particular fold pattern will come out. i should have taken more pictures of the pieces backlit and/or used more translucent papers to show off the technique best. i developed these models into a larger 32-grid piece.

pleated origami | cartridge paper, drawing ink

i really should have looked up issey miyake sooner. not only does he have an entire clothing line based on simple pleats he also creates lanterns reminiscent of the paper folding xmas decorations we had as kids in the 70s.

issey miyake

and he uses a very simple technique to make the pleats –  simple if you’re a reasonably confident paper folder – two matching pleated paper patterns with the fabric sandwiched between and heat setting the pleats. i adapted some of my previous models and improvised patterns on the same basic prefold grids. my pleats aren’t permanent since they’re just ironed flat.

paper moulded fabric pleats | cotton, silk, ripstop nylon

i used these techniques on a larger piece that i shibori dyed (in itself a geometric, folding process) using clothes peg resists. i think my attempt to create a soft drape out of straight lines was successful in this piece.

silk | shibori dyed with drawing ink | heat-set pleats

all this prefolding on a grid brought me back round to examining the underlying geometry of the tile patterns that originally inspired me, probably the most rewarding part of the module. i drew templates for 8- and 12-point symmetry squares by hand and with software (Geometer’s Sketch Pad 5 – 1 year licence under £10, recommended) and mapped tile and screen patterns.

constructing a 12-point-symmetry base with geometer’s sketchpad

never one to miss the chance to do some hand paper cutting i made a small box using the mapped patterns and one i drafted on the basic 8-point base. this was also inspired by the craft skill and patterning of islamic carved jali screens. this really needs a light inside, and could translate well into laser-cut materials.

lantern box

woven silk

so many lessons follow from taking the sample off the loom…

here’s how it came off – coarse and stiff due to the sericin remaining in the threads.

degumming involves gently simmering with an alkali and a surfactant (soda ash and synthrapol respectively). i used 1 tbsp soda and 2 of synthrapol and cooked for just over an hour.

following degumming 2 things are obvious : the fabric is mush softer and more flexible; it’s also sleazy (i think that’s the technical term :D). the weft threads slide a lot on the warp. part of my degumming was squeezing the cloth between my fingers to remove the jelly-like gum and the threads packed down as you can see above. on drying they were even slidier – they pack down into half the length of the warp. this tells me my sett was too wide – i didn’t have enough warp ends to make any kind of balanced cloth – and the slipperiness of the cleaned silk makes this even more apparent.

the other thing that jumps out is how un-shiny the finished cloth is, especially when compared to the naked warp threads which positively glow. i tried to catch the difference but a photo really doesn’t do it justice.

a couple of changes to my next sample suggested themselves. i doubled the number of warp ends per inch (4 per hole/slot), these threads gather together on the loom, making for a pronounced stripe in the cloth, i’ve no idea if it’s possible they’ll spread themselves out during finishing. i also increased the weight of the weft, in the hope that might produce a more balanced cloth, rather than the weft-face i’ve ended up with. i’ve done a short section with the original weft (2-ply) another with 32-ply to match the 32 threads through each hole and slot (4 x 8-ply threads), and another section with 16-ply (the easiest for me to produce from the threads i already have). i’ve also beaten the weft in harder.

the next sample just needs hemstitching before i can cut it off the loom. something else i can look at is degumming before weaving. the degummed threads are really incredible and more than justify the work it takes to reel the silk, it may well be that weaving simply isn’t the best use of those magical qualities, at least on the equipment i have available.

3D modelling

been wrestling with a rhino the past week or so. in theory i’m not asking it to do anything difficult, but in practice i just don’t speak rhino 😀

i wanted to make use of the benefits of digital design to make a medal for the bams student medal competition. i figured it would be a good way to split a shape with interesting geometry, and to produce two perfectly fitting halves of a whole.

initially i had no plans to use digital print in the final piece, i thought i’d just use it to produce a blank for mould-making, but when i saw the results from the powder bed printer i really liked the look and feel of them. it would also save all the additional work of mould making for traditional casting. i hoped by digitally printing i’d be able to include more detail than i could have achieved using casting methods, which still baffle me.

my tasks were splitting a solid, engraving text around the edge and inside, placing an accurate centre hole and applying an image to the top surface. mostly achieved in the end by flow along curve and surface and boolean split/difference to make cuts/holes in the solid.

the image on top is taken from a photograph (via photoshop) and used to create a heighfield surface – lighter areas produce high relief, darker parts are set back. i’m stuck at this point with how to join the height field surface to the solid medal, or even if i need to do that – if it renders okay it might print okay? only one way to find out… test printing… hours of test printing…

image on top is of a silk moth, bombyx mori. text is from kafka’s metamorphosis “he is my unfortunate son! can’t you understand i have to see him?”. the plan is  to cast the plainer bottom half of the medal in clear resin, including spun/woven reeled silk threads and a silk worm from inside a cocoon.

the halves will be held together using 4mm neodymium magnets in the central holes. it was brilliant trying the magnets in my first test print, they really brought it to life, gave it the pull of an  invisible thread that i was hoping for.

loom working

combs are taped either side of a wooden box. threads run around comb teeth and through alternate slots/holes in the reed. it’s an economic design for small amounts of yarn because there’s no waste warp. bunches of threads are tied behind the comb and taped in place.

i need a smaller shuttle for weaving silk threads because i’ll only warp the central section of the loom (i need small pieces from a limited amount of thread) and the long shuttle is a bit awkward to use on such a small loom. laser cutting one would be best as it leaves nicely smooth edges and anything even slightly rough that catches on the silk will be a problem. i need to sand the edges of the box for the same reason.

it’s a perfectly serviceable loom, not easy to work but i did manage to find some rhythm, which helped the selvedges. managed a full width/length sample in a weekend. i think with enough time and care it should be able to cope with the silk.