SandraHolleArt

The next step towards creating a fluid, interchangeable sculpture involving concrete tubes and looped wire, was to figure out the best way to model the concrete. Also, I wanted to incorporate what I have figured about the texture I wanted to create on them. Those concrete pieces should be working as individuals as well as in as group (or lined up on wire) 2) and potentially function as tactile objects or even fidgeting tools. 1) 7) I wanted a texture that resembled some sort of fatty tissue (again, as inspired by my interest in nervous tissue) as well as a surface that feels pleasant to the touch. After all, I found in my scientific research, that smooth surfaces trigger the highest readings of pleasant emotions in people. 1) 3) 4) 5) 10) 12)  In order to create a surface that is smooth but still has interest both texturally and visually, I found a latex mould that I created from a clay model, worked well. As a supporting shape, I decided to use cardboard tubes from loo rolls. Lightwei

Whilst working with the clay, making these initial tubular forms, I had the idea to continue with small individual pieces that can be assembled into something bigger. These forms would allow me to be flexible in how I would combine them and how many I would want to install as a dynamic sculpture. The clay helped me to get a better picture of what I want to achieve in concrete.   produce elements in wire as well. I was inspired by Ruth Asawa's wire art and found a way to make tubular looped wire forms that would work their way through the potential concrete cylinders that I am planning to develop now. I went into detail about Asawa's work in a previous post: https://sandraholleart.blogspot.com/2020/11/ruth-asawa.html Also, through further small studies I realised that those tubular forms, initially inspired by nerves and their protective coating, are a great adaptable, modular foundation with the potential to be scaled up and further interpreted into a bigger body of work. More

Today, I want to show you the results of my experiment with cheap bathroom silicone. It's super sturdy which definitely speaks for the product. It will come in useful again, maybe just the pattern that emerges by squeezing it out of the tube is what I need, without being all awkward and inefficient with casting and release problems etc. ...  Apologies for the poor quality of sound in the first half. Thank you. 😬 That's the earlier post:  https://sandraholleart.blogspot.com/2021/01/lockdown03.html

As mentioned before, I appreciate the properties of metal as an element in my work - It's pliable, visually interesting and demonstrates decline when exposed. In what way I would incorporate metal, how I would manipulate it, I only have started to explore.  I am currently trying wire looping, creating patina, observing fire scale and colours that emerge through heat treatment. In the process of getting the most of my blowtorch, I also realised that the flame gives the concrete block I use to protect my work surface a very intriguing surface.  I'm also looking into a relatively new technique of metal smithing called fold forming. The man who initiated/invented this work form is called Charles Lewton-Brain. In his book he explains step by step how to approach the different folds and shares his wealth of knowledge and experience. Starting point is always a piece of sheet metal, mostly copper, that is folded, then heated up to glowing temperature (annealed) in order to make the met

Looking at my sketches and drawings, having them all on one pile, I can see repetitive elements in them. Not that I would realise whilst I'm in the process of drawing though. But that might be a sign that I have somewhat re-absorbed my approach, intuitively coming back to similar visuals. I take that as a cue to keep going and be consistent. Fingers crossed.

Thankfully, I managed to collect my glazed samples short notice, just before College would close.  https://sandraholleart.blogspot.com/2021/01/more-glazing-trials-on-discs.html After analysing the results and realising that I probably shouldn't rely on going back to the ceramics studio anytime soon, I think it's time to think of alternatives.  My sample tiles gave me plenty food for thought. What could I use to get a similar result of a silicone pattern that I can impress into concrete? What if I squirted silicone straight out of the tube and let it set?  Concrete cast on the silicone, giving the texture I ideally want as a flexible silicone version 🤔                                                                       positive                                  negative                           positive     negative... using one of my sample discs to try with some more silicone TBC

These are forms I like and think they are worth going back to when going a bit larger. Also, I find that here the combination with wire works well.

Eventually, I would like to achieve textured tiles that I can use to make flexible latex moulds for impressions on future concrete forms. I did further experiments in clay and glaze to bring me nearer to the desired outcome.  Prior to the actual clay work, some drawing exercises: Creating texture with string: sample discs: Glazed after the first firing Results second firing: I used parchment glaze in green and violet, a simple white glaze, red glaze in varying thicknesses and for the dark parts it's manganese that went under the glazes. I like the outcomes as such but think I'm not where i want to be yet in terms of texture. The impressions with string are a start and I will try a mould sample from the disc top left corner to get the reverse effect for a squiggly texture. The sample bottom left looks very intriguing and organic, especially on the right half but feels far too pointy and unpleasant to the touch. All in all, I like how the manganese reacts with the glazes and give

In order to go a bit more into detail about the cellular environment into which I try to delve, I would like to introduce another "feature" – the nodes of Ranvier *, **: These small interruptions of myelin insulation speed up the submission rate of the neural information to reach from a to b. https://www.verywellhealth.com/myelin-sheath-4129059     I have been exploring wire in particular because of its habit to corrode when exposed to the elements or substances that can accellerate the decline of metal wire, a conductive material. Depending on the metal, the oxidisation/corrosion produces brown rust, vibrant verdigris or turquoise patina, black and red or blue fire scale. To me this chemical reaction resembles the deterioration of nerve tissues as well as offers me some unpredictable visual elements to include in my work.  * Carroll, SL (2017).  "The Molecular and Morphologic Structures That Make Saltatory Conduction Possible in Peripheral Nerve" .   Journal of Neu

 There are a couple of items that have been fired already: Here, the white glaze shows a crawling effect. This is usually considered a fault as it would render crockery useless. For me it was one of these happy accidents, offering me a way to create texture. In fact, some ceramicists use Crawling Glaze on purpose in their work.  I used to visit Jill Ford, a Ceramicist near York for some workshops a few years ago and have been following her since. She only recently had new textural vases in stock, where she has refined a crawling glaze technique, using it as a feature: https://www.jillford.com/product-page/crawling-glaze-vase If I could deliberately create a larger surface of a crawled glaze or imitate this texture, I could make a silicone mould that can be impressed in my future concrete work. This texture, I imagine, could well resemble the fabric of myelin, the fatty protective layer around nerves. These nerves that are insulated with myelin form the what is called 'white matter&

After my first model is pretty big for an experimental form, I decided to do some smaller pieces that would allow me to have some more variety. Also, I need to bear in mind that the looks I create with the clay and the glazes need to be applicable and adaptable to my future concrete forms. I hope to create surfaces that I can make moulds from in flexible latex and then impress them into my concrete work in some way. Cannot wait to get there! Here are some modular tube samples. Green (unfired) clay, bisque fired (first firing), glazed and after the second firing: Glaze firing results: This also needs some further research, not quite there yet as I envisage the myelin inspired modules with a more "knobbly" or "glibbery" suface. Maybe I should try to mimic this in slip or slurry, then bisque fire and then glaze thickly, also see crawling glaze post here: https://sandraholleart.blogspot.com/2021/01/experimenting-with-clay-models-4-glaze.html  

The second firing of my first attempt of a model in clay went well. First, I partially applied copper carbonate powder. I used Parchment Glaze on top in an uneven thickness, hoping to create a ragged effect.     the result: