ARTIST STATEMENT

Project 1:The conflict within Us

Key concept and potential title: The conflict within Us

The Conflict within Us

14We know that the Law is spiritual; but I am unspiritual, sold as a slave to sin.  15I do not understand what I do; for I don't do what I would like to do, but instead I do what I hate.  16Since what I do is what I don't want to do, this shows that I agree that the Law is right.  17So I am not really the one who does this thing; rather it is the sin that lives in me.  18I know that good does not live in me — that is, in my human nature. For even though the desire to do good is in me, I am not able to do it.  19I don't do the good I want to do; instead, I do the evil that I do not want to do.  20If I do what I don't want to do, this means that I am no longer the one who does it; instead, it is the sin that lives in me.

21So I find that this law is at work: when I want to do what is good, what is evil is the only choice I have.  22My inner being delights in the law of God.  23But I see a different law at work in my body — a law that fights against the law which my mind approves of. It makes me a prisoner to the law of sin which is at work in my body.  24What an unhappy man I am! Who will rescue me from this body that is taking me to death?  25Thanks be to God, who does this through our Lord Jesus Christ!

This, then, is my condition: on my own I can serve God's law only with my mind, while my human nature serves the law of sin.    Romans  7:14 GNB

To explore this concept there are two key elements to this work. One being the constructed human form, the other is light. It is the tension and play between the light and the constructed form that creates a dialogue. 

This conceptual focus was influenced by the week 1 lecture on  Fabrication introduction with reference to the way that we build houses within australia in regards to minimal materials for construction. And discussions with the theory lecturer Nasan Pathar(western art history) regarding the nature of western society and theorists, such as michael focult, built their theory and critique of society under the assumption that humanity is inherently good. In this work I am starting with the assumption that on a fundamental level, we are completely disconnected from the environment and we are inherently sinful by nature.(note the is a difference from evil and sinful).

 And explore this through the use of materials and the human form to create a discussion on our connection to environment and the spaces we create.

This work is also making references medieval arts and belief regarding claritas and light as god through the use of a solar light.  

Indicate research.

• Australian timber frame construction techniques - Videos on blog post
• 
• Timber frame materials, types of timber, and joining methods
• Standard lighting fixtures, and solar lights
• Geometric drawing methods of human anatomy
• 
• Artists using the human form and geometry Alex Milov's love, Antory Gormley  Waste Man 
• 
• Artists using light and the sculptural form. Paige Bradley Expansion Stephen Shaheen  Lets put our heads together  Mona Hatoum light sentence,
• 

notes about the figures form posture and other considerations

Note that the figures proportions will be based on my own, which is a reoccuring theme within my work to use my own body as the basis. And in a sense a level of accountablility and momento mori.

Also note that this artwork for presentation is not resolved, particularly in the use of a 'found' chair.

Briefly discuss construction methods

1. Sourcing of materials

• Bunnings for timber and nails
• Kmart for solar light, pottsville community center for the light and electrical compliance sticker

2. Preperation of materials before construction
3. Process of construction

• using my own proportions as a guide a scale template was made to aid construction 
• 
• creation of the articulated joints
• 
• creation of the feet hands and head
• 
• hammering of nails into the timber strips
• joining of joints with thin timber strips
• 
• installation of the lighting
• positioning and locking of the joints

Briefly discuss important features and issues

• Articulated Joints ( show joint and discuss )
• Hammering into the timber, issues faced, counter sunk joints (show broken joint )
• aesthetic considerations - not cleaning up the cuts and the need for perfection, rushed construction techniques).  

Discuss materials pertinent to the project:

• The timber/geometric just as we are organic our physicality is disperate from nature
  The form/materiality will mirror the timber frame of houses, the bare minimum of materials, form ply, structural pine, screws, nails, bolts and metal ribbon.

Formulate a timeline for completion.

• Week 4: Research into movable joints and construction methods.
• Week 5: Experiment with construction of joints. Continued research.
• Week 6: Begin production of figure. Continued research.
• Week 7: Assessment item 1 Due.
• Week 8: Continue creating final work.
• Week 9:Continue creating final work.
• Week 10: Continue creating final work.
• Week 11: Continue creating final work.
• Week 12: Finish creating final work. Consider final presentations mode/s.
• Week 13: Assessment item 2 Due.

Dictate solutions for professional presentation.

• The intention is to display the artwork in the dark room. This will allow the light within the artwork to 'play' within the space. The figure will be seated on a chair, in the center of the room.  

Project 2: Mold casting

  insert images of molds/ light tests

The intention for project 2 was to further explore the claritas (light coming from the object as opposed to striking it). The form cast in the project was originally going to draw inspiration heavily from Alberto Giacometti. The rationale for this was relating back to transcendentalism in particular looking at the soul of a person. Instead ive chosen to remove the distinguishing features from a human figure ie face, chest and genitalia to explore this idea.
The methods of casting I chose were:
Two piece paster mold
Four piece silicon mold
Tape mold making

The materials and techniques cast were:
Wax figure, cast from the silicon mold
Silicon figure, cast from the plaster mold
Sticky tape figure cast from original figure

NOTE: there was a fourth figure for project 2 which was a plaster casting of the figure. Due to failure in quality of the purchased "glow in the dark" paint this piece was not included as part of the final project.

HOW TO: light experimentation

The key of this HOW TO is to modify a solar light to increase its brightness. Essentially it is a simple solution by replacing the rechargeable AA battery with a 9V battery and replacing the single led light with a series of led lights.

side by side comparison




















ABOVE LEFT: the addition of 10 leds and a 12v batter
ABOVE RIGHT: the original brightness of the solar light running off one AA battery

how it was done

HOW TO: silicone mold making

How to create a silicone mold using silicone caulk

This post covers the creation of a 4 part mold for a human form. 2 part silicone 2 part plaster. The idea behind this combination is that the silicone portion of the mold is what comes in contact with the cast object and the plaster holds the silicone in position.




Preperation
Source silicone
You can buy silicone at most hardware stores, make sure that you are using 100% silicone for this project.
Object to be molded
Get the object you want to make a mold of, for this project I will be using the mold and form from the HOW TO : make a two piece plaster mold post





Step 1: Lube it up
Coat the entire mold with Vaseline, This will prevent the plaster from sticking to the mold. Use you finger to apply the bulk of the vaseline and then use a paint brush (one you will never use again for painting) to get into the edges and cracks of the form and mold.

Step 2: Catalyzing solution
Mix concentrated dish soap at a 1:10 ratio with warm water (Below). You are making a  catalytic bath for your silicone. The glycerine in the dish soap accelerates the cure process for of your silicone AND makes it possible to handle the silicone with your bare hands.Make sure that this mixture is right next to the objects that you want to be making molds of as you will be placing the silicone into the solution then directly onto the objects.

Step 3: Preparing the silicone

Cut the tubes of silicone open (pictured below). Submerge your hands completly into the catalyzing solution rubbing some up to your elbows, this will prevent the silicone from sticking to your skin. 

Then carefully using your fingers scoop our all of the silicone from the tube and place it in the catalyzing solution. After a few seconds it will begin to change color. Form it into a ball, and slowly massage it. Fold it, stretch it out, and work it like knead dough until it becomes less maluable ( appox 30 seconds). 

Step 4: Application
Take the silicone out of the catalyzing solution and place it onto the center of the object being molded. Then gently kneed the silicone out until it is covering the entire form.





Step 5: Registration points
Now create small nodules with some silicone and place them at the center and extremeties of the form. These will be for the hard shell that will encase this mold.




Step 6: Allow to dry
The silicone will be touch try in approx 5mins. And usable within the two hours (normally 24 hours). During the curing process the silicone will give off a VERY strong an odour.

Step 7: Hard casing
The final step is to create a plaster hard mold that goes over the silicone. Due to the flexibility of the silicone it will lose shape easily . Creating this hardcase allows you to compress the soft mold when using non-liquid materials.

Step 8: Releasing the molds

HOW TO : make a two piece plaster mold

Creating a two piece plaster mold

Step 1: Base of the mold
Create the base of the mold, in this case plasticine but you can use clay or any other maluable material. Ive chosen plasticine because when heated up in a bowl of hot water it is easily manipulated and when cooled becomes hard.
When making  the base make sure that the mold will be releasable.

Step 2: Walls

With the plasticine the walls will need to be the width of your little finger (15mm+ approx ). Keep in mind that this will be holding the liquid plaster in. The walls will also need to be level and the mold will need to be deep enough so that the object inside the mold will be completely submerged by 10mm.

Step 3: Lube it up
Coat the entire mold with Vaseline, This will prevent the plaster from sticking to the mold. Use you finger to apply the bulk of the vaseline and then use a paint brush (one you will never use again for painting) to get into the edges and cracks of the form and mold

Step 4: Mold registration points
See those dots either side of the figures head (below). They are created so that when the two halves of the mold are placed together, it aligns properly. They were created by pushing a pen into the plasticine leaving a depression that is 15mm approx.

Step 5: Mixing and pouring the plaster
Various brands of plaster have different ratios for mixing. Mont Marte plaster recommended 2:1 plaster to water ratio. But for pouring plaster, which has the consistancy of cream use a 1:1 ratio.
To mix the plaster gently add the plaster to a bowl of water by sprinkling it onto the water. Then stir with you hand until the consistancy of cream is achieved.
Pour the plaster into the mold, preferably on the form first, getting it as deep as possible, for this mold 2 litres of plaster was used. Gently tap the mold to raise any bubbles to the surface and away from the form inside.

Step 6: Allow to dry
Plaster should dry hard enough to touch in 15mins, but leave it for 4 hours to harden enough

Step 7: Remove the plasticine 
Remove all of the plasticine from the figure and mold (below) but DO NOT REMOVE THE FIGURE.

Step 8: Mold walls
Recreate the mold walls ( refer to step 2) this time using the plaster as the base.

Step 9: Lube it up again
(refer to step 3)

Step 10: Mixing and pouring the plaster
(refer to step 5) again allow to dry for 4 hours approx

Step 11: Remove the plasticine
The plasticine can now be removed completly and cleaned. Try to remove all of the vaseline from the plasticine so that it can be reused in the future

Step 12: Open the mold

The mold can now safely be seperated. If the mold was done correctly you should be able to seperate the two halves of the mold by gently leavering the two halves apart with a knife. This is done by levering a small amount right the way around the mold lip. And prayerfully should come appart ( Below)

NOTE: the form cast in the project was originally going to draw inspiration heavily from Alberto Giacometti. The rationale for this was relating back to transcendentalism in particular looking at the soul of a person. Instead ive chosen to remove the distinguishing features from a human figure ie face, chest and genitalia to focus on this idea.

Critique notes

ARTWORK PROGRESS: Positioning of the figure

The goal for the positioning of the form was to give a sense of literal weight and a sense of personal struggle.
For the sense of personal struggle I chose to position the form in a sitting position. On the cusp between defeat and triump. The form could stand OR fall.

ABOVE: the final chosen position

ABOVE: due to the articulated nature of the form the body could be positioned into naturalistic positions and be self supported. These are two experiments with posturing

ABOVE: to position the form, the suitcase was used as a support unit it was balanced enough to take its own weight.

Source: http://www.kansasviking.com/images_faith/Humility.jpg

ABOVE: final positioning of the figure

HOW TO: Recess a timber joint with a circular saw

HOW TO: Recess a timber joint with a circular saw

You will need:
Set square
Vice
Circular saw

Step 1: mark out the area to be recessed


Step 2: Clamp the timber making sure you use scrap wood so that the jaws of the vice do not bruse, scratch or crush the piece.




Step 3: Set the depth of circular saw to the depth of the cut




Step 4: Make consecutive cuts about 4mm apart, starting from the outside of the are to be recessed.  



Step 5: run the cirular saw backwards and forwards removing any stubs left over from the initial cuts



Step 6: Check the width of the cut to make sure that it is a tight fit.You may need to increase the width of the cut, but be careful as a tighter fit is better than a sloppy one.