I took a series of photos and went through a process of abstraction. I initially took the photo and turned it into a collage in the same orientation, such as landscape, kept the key points of interest and composition. I then changed the scale and orientation of the next collage to force myself to emphasise the important elements rather than replicate the same composition or techniques. I repeated this process and reduced the mediums I used to one so that I could focus on the texture and composition before I passed the collage through a roller with a sheet of aluminium to transfer the design.
I wanted to focus on the repetition of the spiked elements and enhance the perspective.
With this piece I changed the shape of the piece to suggest the stadium shape of the metal ring. I also broke up the sign and introduced multiple off cuts of the shape mirroring the way I was fragmenting the composition.
I wasn’t happy with the repeating elements in the last piece, so I created a perfectly symmetrical rotating design. I then layered the abstract shapes that were carried through the collage process on top.
The main focal point created through the rolling process was the very centre point where the most newspaper was laid on top of each other which draws the eyes in. However, I would remove the symmetrical lines from underneath the shapes as I feel that these lines break up the shape rather than the shapes interrupting the symmetry. This was only visible once I rolled the collage as it takes the embossed surface into a debossed one.
I initially struggled with converting this photo into a collage due to the complexity and business of the composition. However, I chose to focus on the main blocks of shape and repeating patterns.
When abstracting the collages I shifted my focus away from the set composition and took the ideas of repeating horizontal lines and diagonal lines to create energy.
With my initial collage I looked at creating s ridged architectural structure keeping the main bold lines.
Through my collaging process my initial reasoning for choosing the reference photo due to its bold architectural presence shifted. I instead focused on developing a series of intentionally placed lines mixed with feathered textural components.
I took my final collage and explored the idea of repetition and rotation.
I took inspiration from a frottage of a bike tyre and through sketching developed the ideas to use a similar repeating patten to remove material from pieces of metal.
Piercing saw and filed aluminium tests
Through my testing I wanted to bring this idea of adding texture from the frottage onto aluminium so I created a series of tests using the roller with a collage, textured found object and netting.
I combined the techniques of texturing, cutting metal and added shaping using pliers. I joined the pieces at one point which allows them to rotate.
I took the idea of rotation and movement that linked back to the constant movement of patter from the frottage. I created a series of tests using the textured roller technique. The left test was done by threading copper wire through drilled hole, creating a piece that was flexible but held its position. The other tests looked at using copper jump rings to create continuous movement. I used copper wire to emphasise the movement element of the design.
I wanted to explore the idea of externally emphasising the motion of a fixed object. When analysing one of my found objects I loved the way that it had been manipulated and probably crushed into a new form. I wanted to create this motion by bending aluminium around the object mimicking the motion used to crush it. I connected the aluminium together with copper rivet hidden underneath the object. The aluminium pieces only stay in the correct position if the object is placed on top. This creates the link that the aluminium is only meaningful when the object is part of the piece.
I took the cross shapes from one of my light paintings and created a fold forming composition.
I used bronze and copper scrap metal with holes cut out to create a layered interpretation of the brick design in the photo on the left. I joined these together by drilling holes and looping wire through. I added aluminium strips and bound them together replicating the steel construction of the architecture. In this experiment I focused mainly on composition but also explored different joining techniques.
With this piece I wanted to take the key element of the hanging light and explore the mark making and fluidity of the painting. I took the lamp shade shape and using a ball peen hammer sculpted a piece of aluminium over a former. Working with an odd, shaped sheet of metal allowed me to practice drawing the metal over and removing the creases. I like the incomplete aesthetic of the shape which reflects the loose and suggestive nature of the wet media painting. I then attached a bar of copper and bent it around and away from the aluminium. I used this to replicate the bold dark lines in the painting which help to frame and break up the painting. The addition of the chain was not only to link back to the chain used to hold the lamp but also to allude to the fluidity of the painting.
In this sample I explored adding texture and composition. I used my weather drawing as a reference and created a painting out of metal. Keeping the same themes of horizontal and vertical strokes I built a composition of layered sheets that I riveted together. I wanted to focus on practicing the methods I had discovered to add a variety of textures and used the bronze and copper to add opposing pops of colour and smooth texture.
I was inspired by the repetition of circles in the frottage above and explored a composition of layering and overlapping scrap metal.
I threw a series of small vessels practicing the key skills of centring, opening and pulling the walls. I then applied different colours of slip and using a pin tool added sgraffito drawing inspiration from my frottage series. I then applied a clear shiny glaze.
Using a spone to dab on white slip
Using a spone to dab on white slip
