Part 4 Process

So the object is designed for the production of wine manufacture. I tried to use this intrinsic quality and create a sculpture that references what the object alludes to, which is wine. I pushed this by experimenting with light and the nature of wine in a glass. I was inspired by Nicholas Follands beautifully lit crystal glass patterns that splayed across the wall of the SA Gallery. Here I played with drawings, trying to capture elements of the light patterns from the glass and turn them into possible forms. I thought that I could create an awesome sculpture that would utilise the practicality of the wine bladder to create a beautiful form.

I began constructing my resolved idea. I cut the seams of the wine bladders, leaving me with sheets of material that could be joined to make a larger surface to work with. Given that there was a transparent internal bladder and an external metallic bladder I had two really interesting materials to use.

My idea was that I would use the transparent material to envelop the metallic material in a circular formation, layering the transparencies.. as the transparent layers here can in a way interact similarly to the layers of light refractions.

So to create a circular structure I used the black taps, then I covered them with the metallic sheets, I though the sculpture would have more coherence if the black taps weren’t visible, I only wanted them to play a structural role in this work. 

     

This is the circular plate that I would use as the building point.

PART 1

So then I had this silver type plate that resembled the surface of the wine glass. I began attaching the material to it, bunching it in a membrane pattern, I was really trying to create organic shapes. The layering of the transparencies did not go as smoothly as I would have hoped. Each transparent square was hot glued to the next, so suddenly instead of being drawn to the (what I hoped would be) organically draped transparent plastic.. all you could see was the clumsy clumps of hot glue.. so my work was leaning more towards intervention than chance. 

This is where the bad decision infiltrates

eewwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwww.

I tried attaching another experiment to perhaps breathe some life back into it but I found that it simply made it worse, if fact it turned into a big weird jelly fish. It didn’t have any element of chance, light is spacious – this was obtuse and heavy. I could not hand up this work.. as it was not resolved.

PART 2

So I realised that I needed to deconstruct the sculpture and re work it so it would be light, spacious and generally less clumpy and gross. This was challenging, at this point I was quite upset where my experimentation had led me but I tried to turn this around. I went back to my drawings and looked at the lines in the patterns from the light refractions.

The new idea was to try and highlight these lines in my work, I needed to reference these clearly. To do this clearly there needed to be less clutter around the shapes, so the line shapes would be a more obvious metallic material and then the depth of the form would be extended by the transparent material.  Minimal was my new aim.  

So I went back to my photos, did some more drawings focusing on line. Then I took these lines and transformed them into 3D form by joining the taps to emulate the pattern lines. 

I covered my structures with the metallic sheets, and then I draped the transparent sheets from them. I wanted them to be suspended in a membrane like manner, so I strung them from the base I had made earlier. 

I removed the material from the initial plate structure, clearing it for the new resolved shapes.

This is the result.