After about 20 minutes of gluing I produced this.
- Card this thick (10mm) is a bit to thick and therefore slow to use as multiple passes are needed.
- In Illustrator be sure to set the numbers as raster lines.
- Thinner material next time.
- Be sure to remove unnecessary cut lines in Illustrator.
A few posts back on the 17th of February I showed some prep work to making a fast laser cut cardboard model. The card is pretty thick at 10mm so I slowed the cutting speed a few percent and upped the power a couple of percent. I’m using the 45W Epilog Helix Laser cutter/engraver.
This model composed of slotted circle modules was made in response to the earlier triangle version that I took forward into metal for my formative assessment. I wanted to explore other basic shapes to make other variations on the earlier work and see what kind of results I could come up with. The modules are larger with more possible connectors than the triangle system, making for more ‘open’ structures that seem to expand and ‘grow’ more.
Once I had made this circle system I moved into ellipses and made a similar size structure.
Once I had constructed these I began considering scale. What if I laser cut loads of modules and could make a much bigger structure? I designed yet another simple system that slotted together out of the same 5mm cardboard, which I am using do to its suitability to fast model making. Although I do enjoy its material qualities. This time I used hexagons, believing I would be able to make large honeycomb like structures. When it came to build I again played around with it and then settled on a pattern to repeat into a large structure.
This structure looked pretty good but was very precarious and wobbly. It collapsed after a bit tomorrow I intend to reassemble the hexagon ‘modules’ into a new structure and combine them with some of my earlier models. I will make a gif or maybe a time lapse of this process.
Ready for tomorrow’s build.
Thinking about 3D fractal forms back in November I made this column. In my mind I had imagined it ‘squiggling’ through space in a complex, dense three dimensional form. Imagine a dense squiggle curve drawn in 3 dimensions. Then the 3D ‘fractal’ pattern follows the squiggle resulting in a dense, complex form. I am going to try and illustrate this as a computer model using grasshopper.
Before my formative assessment I made laser cut card models of the sculpture I wanted to build. I ended up like the models and so moved into using sheet steel to realise my sculpture outcome. During the build of the sculpture I slotted together 11 steel triangle units and then suspended it from the ceiling next to my large sculpture. I was immediately struck by how it looked hanging in space so here I am returning to that idea with my card models to experiment further.
I have been thinking about formalist and constructivist art and how to use their principles that I am inspired by with digital technologies. A way I have thought of to do this is to make large sculptures or structures which encompass large volumes of space, using modules or units to create small forms that then reside scattered through a space, like clouds, suspended. Then perhaps a sense of a larger volume or defined space can be felt or seen. In this small model I have used thread to suggest a three dimensional object/space defined by the triangle clouds. Let’s see how this all plays out…..
Today an hour and a half workshop with Jon Pigott encouraged us to start developing our artist statements.
Some of the key points I will highlight.
The statement does not need to be an accurate ‘true’ disrcription of the self, it is about the artist in relation to their work, and this changes over time. When writing it is important to remember that I will want to change my statement many times in all likeliness.
Jon described to us his core 4 points that an artist statement should cover:
- What is it?
- What is it for?
- What are the values imbedded in it?
- The materials and processes used.
Is important to consider the relationship between the material and the idea, but also to keep things short and snappy and to talk about ones self in the third person.
A good source of inspiration can be found online on galleries websites where artists statements are often posted. A good example is the Crafts Council Wales website. Art Quest .com also has a good how to write a good artists statement article.
So a good statement gathers up the values, materials, processes and a metaphoric or poetic sense of values too.
So to wrap up Jon ended by giving us a loose formula to follow and adapt for our own.
(Your name /collection) makes (things and adjectives), inspired by(….). Using (materials and processes) these (things) are for (who/where). This work is a metaphor for/a poetic exploration of/an embodiment of (….).
Jon has suggested that we print out a statement that and look at the work we have made, does the statement reflect the work? If not one has changed and the other must follow.
The second Professional Practice lecture given by Ingrid Murphy concerned researching opportunities available to us once we leave university. She started by explaining that in preparation to this lecture she allocated herself 30 minutes to intensively research as many post graduate opportunities as possible. I was astonished at the shear amount of possible leads and information she managed to gather in a short time. The list was pretty wide and all encompassing, I suppose individuals in the class will have much more focused and concise searches. She showed us a whole host of sites, forums, newsletters and much more that will be invaluable, there were loads that I wrote down but I’m not going to list here. She has suggested that we take a similar approach in the first instance. Hopefully I will get around to making a post of the results of my search.
When I conduct my search I shall initially look at artist residencies, post-grad education, work in creative technologies spheres, competitions, start up opportunities and interns. Then I may expand my search to other forms of employment, I think I would make a good technician at an education institution. Although I don’t think I would want to do this for ever. Creative technologies are high up on my list.
Our third lecture dealt with writing a good C.V., it seems there are many ways of doing this and that it is best to have a range of C.Vs for different job types. It is essential to maintain an up-to-date C.V. which can been fine tuned and crafted over time. It is essential that it is well written and looks good and is to the point. First impressions count. Ingrid also suggested keeping a detailed log of jobs you’ve applied for as a record to refer too.
So I all ready have a basic C.V. I think where it is lacking is a more detailed skills section. I think I have quite a lot of skills that I have not put down. As I conduct my job search for possible jobs I shall try and tailor a C.V. towards certain type jobs. This should be a good exercise for when I need to start applying for the things I want to do!