Stone to Bowl

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Following further research I have made up some clay balls with a mixture of malachite and charcoal inside to smelt. Copper results from removing oxygen from the copper ore, so the sealed clay balls should be more successful that the pit smelt that I did at the Sculpture Workshop.

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I like the way the clay balls look a bit like poppy seed heads.

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I’ll let them dry out a bit before I try and get them to smelting temperature in a charcoal furnace.

VACMA support acknowledgement-text + logost

 

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Stone to Bowl

VACMA support acknowledgement-text + logost

I have been awarded funding for my Stone to Bowl project. It will pay for several weeks at the Scottish Sculpture Workshop in 2018 to complete the project which will take copper ore through to cast pieces, using traditional and fully sustainable methods.

I’ve been doing some preparatory work:-

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I experimented with melting the copper that I pit-smelted this year at the Sculpture Workshop, adding in some silver to lower the melting temperature. I melted 115gm and got 74gm of copper and some residual oxides which didn’t melt. The left hand metal is copper, the right is the original smelt material which is less pure. Next trial will be to sand cast with the copper/silver alloy.

 

 

 

RSA Open 2017

RSA

Yes, I got selected, well “Firenze” did.

Thank-you to Jo for delivering the piece, Charles for the plinth, Axel for the photos, the Bradshaw bursary for getting me to Florence and the lovely people at Alchimia for their mentoring.

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It’s a small sculptural piece in brass, copper and silver solder with heat oxidisation inspired by the architecture of the Oltrarno, Florence.

RSA Open 2017 – pre selection

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Excited, I’ve been pre-selected for the RSA Open 2017 with this piece, Firenze, that I developed at Alchimia in Florence when on the Bradshaw travel bursary. I hope that it makes it through to final selection. I need to get on and finish it…

Alchimia Week 3

I spent week 3 taking a third off the closed form and closing it, taking a third off the remaining two thirds and closing that until I ran out of time.

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The piece became several pieces each was great to hold and could be fitted back together as a 3d puzzle.

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The surfaces took different colours, the solder flooded the joints and each piece had different small openings to look through. Like the streets there was an historic outside and a glimpse of the inside, a suggestion of many lives enclosed.

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As I made new thirds I became short of material and had to patch the brass and piece in some copper.

Doris was not able to give a final crit, but I was pleased with how my aesthetic came through strongly, how each piece is so tactile and how the object was inspired by Florence.

I discussed with Elisa and Marcia how a series of brooches might be made from the piece and also maybe replicating an inside piece in silver.

I was pleased with what I achieved and can see the approach being hugely useful in my work.

Alchimia, Week 2 and into week 3

Doris Maninger reviewed my work on Day 7 and I moved into using metal, choosing a 3d shape and recreating it as a hollow brass form.

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On the Friday (day 10) she suggested that I close the form and apply a ‘framing’ rule such as repeatedly halving the piece.

So on Day 11 (yes i was there for 3 weeks) I started this, but taking a third off each time.

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These photos show the closed form. This gave me the feel of exclusion and being on the street outside, with something different inside. I also pieced the metal to give the idea of history – making do, patching up, using what’s to hand. I let the brass oxidise as I went also (which was a technical challenge, but left great colours)