Practice June 12 : mega-molecule arrangment

Preparation for substrarte addition.

Feeling the theme was getting lost in 'surface' layers of creation, I feel the need to reassert the emphasis on cosmic substrate and to keep the surfaces in context. This mega-molecule arrangement is informed by incomplete NASA type photo-surveys of other planets as well as by subatomic and molecular structures. This also deviates away from the block arrangement we are accustomed to with traditional tessellated tile arrangements. The 3 D tones will be achieved with the tinted matt, gloss and satin technique.

Visual reference

Practice June 10 : Textures / tones

Various methods of creating textures were exlored as can be seen above including paint drip and relief sculpting.

Practice June 8 : Textures from reference

Various reference used to inform textures. The graphic water version are directly useful.

Artist ref: Max Gimblett

For energetic gestures it would be hard to go past Max Gimblett. I will be looking hard at his work to see what can be learned in terms of creating gestures that convey great and explosive energy to include in the current piece Compound I.
http://www.gowlangsfordgallery.co.nz/mygallery/

Many of the pieces appeal to me, and bear a similarility in terms of preoccupation with geometry, as combined with spontaneous gestures.

Current works: http://www.maxgimblett.com/current_paintings.html

The quarterfoil form seems to perform the role for Max what the cube does for me. Both being made within a circle or sphere.

Please note: image publishing precednt the publishing of this artist work on a blog, but lkinks that take you to a gallery site. Fair enough.

Finished example: Tinted overlays

This example utilizes the undesirable yellowing effect from UV inherent in polyurethane. Poured on the right, rolled on the left and absent on the bottom. This is a satisfactoy result which teeters at the limit of subtlety.

Practice : June 5 : Achiving tri-tones

Texture difference: The very success of tessellated images lies in the difference between the 3 tone that create to 3D effect. In this example, I am attempting to use 3 variations of two textures uses in order to create the 3 tones. I suspect 3 overlay tones will be required as well.
Learning: I have found the subletylimit to for creating 3 tones.

Content difference: Here I intend to discover to what extent an effective 3D effect can be achieved by changing content alone.

Tinted clear finish: This example acheives an acceptable 3 tone effect by way using polyeuretjane which has a natural tendancy to yellow poured onto the right segment. The left segment has a thin rolled on layer of poly, and the botton segment has a tint of pearl essence 'straw' to attani a dofferent finish.

Wattyl Sponsors product

A request for free product for the purposes of creating artwork was well received by Wattyl wholesaler suppliers. The product, Pearl Essence, is in slow decline with some niche uses emerging. The sponsor is keen to explore its creative potential. The agreement provides 4 litres of base paint each quarter, and a trade outlet has agreed to supply tints to my specification. Artwork from my stock can be supplied for their use while waiting for exhibitions. Great interest was shown in my current project Compound I, and its deeper themes grasped surprisingly quickly. the very compound nature of the products provides an ideal showcase for the product which may enjoy a new relevance in creative spheres. A good blend of commercial and artistic imperatives.
Learning: This was an exercise in quick lateral thinking, the challenge being how to get a maximum range of colours from 4 litres, in meaningful amounts in a way that doesn't hinder the staff accustomed to selling in bulk. 8 base colours were chosen, which can be re tinted lighter and darker with black and white tint effectively giving me 24 tints to play with.

Practice June 4 : Making

This image is important reference point for seeing what role in texture (satin, matt, gloss) could make in order to produce a 3D illusion, as opposed to definite tonal changes.

Content change: In this example, I wish to explore the possibility for creating 3 tonal changes by altering contents alone. I suspect, that tinted overlays may be required. However this observation is made while the piece is observed in isolation. When view alongside the others in other words by virtue of apriori information - that derived from a memory based model created from what is already known.

Noticing: At each stage I am playing with the materials and filing images for future use: textures, shapes and methods and drip compositions.

Surface difference: Satin has finish has been applied to this piece, in order to test for reflective surface difference. It needs to be mounted with the others in order to be appreciated fully.

Thematic ref: Hyperbolic Geometry

http://www.ted.com/talks/margaret_wertheim_crochets_the_coral_reef.html

Her artists are responding to global warming issues and in particular, the degradation of coral reefs. Their response takes the form of crocheting corals as this is the only known way to model hyperbolic mathematics - it evades even the most sophisticated computer modeling programmes. Ain't nature wonderful.

Practice June 1: Laser cutting

Getting diamonds cut has been a long and arduous process that involved calculating at which point one should quit a process in order to meet a deadline (assessment) or continue you in order to reach the goal at any cost. Making these boards on a bed saw would result in inaccuracies which may or may not have been fixable. However, there is no disputing the absolute accuracy of the laser cutting method - exact clones of each other. It is a reminder that one must be realistic and rely on a miracle!! In this case a last minute gift form a friend saved the day, and unblocked this project. Even then they were cut wrongly, requiring a further slice to be taken off. The amount of time taken to fix the problem was equivalent to the time it would have taken to do a best guess job in the first place. Proving that time could be found after all.
There is on doubt if funds allow this is the best method. All achieved in one pass in a few minutes. A further advantage is that the file is kept by the supplier for future use - and a superior result.

Practice: May 28

Observations: This accidental placement opened the possibility for overlapping and different scales.

Tone difference: This exercise explores the subtlety of tonal difference created by different stroke direction to see if it is sufficient to created the desired 3D effect. Conclusion NO, 3 distinct tones are required for tessellating, which is not to say that a single piece or in fact a combined piece cannot be legitimately created using this effect.

Practice : May 27

Observations: Here we begin to appreciate the overall 3 D effect. Very pleasing. It is interesting to note how much more enhanced the effect is when viewed from this side angle. I imagine this is due to the extra perspective provides the brain with additional information with which to reach a conclusion i.e., the smaller of the two vertical members must be a distant wall.

Themes: I am pleased that the general intentions of the piece accurately portray the many themes and sub themes that are expressed here. With space, and a carbon atom you can build an entire omniverse full of ever-changing and developing organisms, one of which is capable of contemplating its own existence and expressing it with equal infinite variety.

Mounting: Given that tessellating per se in a continuous background has in effect been well covered, I am intend to explore options of mounting which include leaving spaces so as the create the effect of a large molecule, another reminder of infinite variety of level building.
Overlapping and mounting within another so as to create a 'box in a corner effect' will also be explored.

I can see that mounting at a pronounced angle will add an extra animation and heft element and as though it is midst tumble. This arrangement also creates great flexibility, and provides for replenishment as pieces are sold. This in fact only adds to the effect of its ever-changing continuous creation status, as well as different arrangements.

Artist ref: Jorge Otezia

http://unviajeimposible.blogspot.com/2008/10/jorge-oteiza-en-su-centenario.html

It is not often I have a sens of awe when viewing artwork, but I do in this case. This work speaks to me in a from beyond the intellect. Capturing the impossible and rendering it in form leaves me with a sensation one could easily call deeply esoteric. I no longer use the word spiritual as it conjures up ancient animistic concepts of Spirits. Esoteric refers to the areas of life beyond the cognition of the normally accepted 5 senses. I could invisage movning in ths kind of direction in the future, but as I have aslready found out, the Idea Central may have other ideas.

Practice continued

Learning: Delays in practice due to reluctance or inability of suppliers to provide the diamonds I need to continue my work are causing me to reconsider the method currently under consideration. It is entirely understandable that heavy machinery is not calibrated to the fine degree required by the present project. Attempst top have one perfect one cut on the Unitec laser in order to set up the heavy machinery have encountered further delays due to forgetfullness of busy staff. It is in itself fascinating how far out a design can be when dealing with geometric forms. The knock on effects would become a source of irritation with technicians endeavouring to adjust each part. I have now to question the appropriateness of this Pollock meets Geometry method - cutting diamonds, to be rejoined later having been subject to separate surface treatments. If I am to continue using isometric cube forms, I must consider leaving them in a hexagon form and applying masking or sign writing decal type technology.

Part solution: An off campus laser cutting company has offered to cut one sheet of wallboard for $45 - providing me with 5 cubes. Sufficient for now. I suspect I will have these 5 before I could receive my first laser cut one in Unitec. In the meantime, I have pressed on with applying my Pollock patterns using white foam board to trail the idea, and to simply break though the impasse and apply some paint! While the material is easy to cut and manipulate, it is also prone to damage and buckling, and so serves as a useful test procedure but is not a suitable permanent medium. This process is more akin to marquetry than cabinet making, requiring fine hand work.

Observation: Even at the early stahes of my Pollock cubes, i can see that adding a 3 dimensional effect, creates the impression of the Pollokian splatters suspended in 3 dimensional space.

Artist ref: Charles Gilchrist : Sacred Geometry

Inspiration: Having spent 30 years in graphics, a lot of that time drawing straight line, I have been revelling in the playfulness afforded me from following in the footsteps of Pollock and Tapies. However, I find myself increasingly drawn to the geometry aspect of Creation as opposed to the chaos aspect. The mathematical and geometric layers of creation are the building blocks of all we see. And so I feel compelled to follow my muse to see where it leads. I find myself mesmerised in a good way by the work of Charles Gilchrist who has spent much time investigating meditational mandalas and the like. I can practically hear the atoms vibrating, the colours seem to dance and vibrate. I can only conclude that whatver message Messrs Pollock and Tapies were intended to deliver, I have another and so look forward to the revelation fed by the hours of online viewing to be had at the following sites. I am amazed at the way thes images above oscillate, forming endless patterns in the mind as it tries to resolve then into objects it is familiar with.

Quotations: Sacred geometry is satisfying to both the left and right hemisphere of the brain. Science is embracing what sacred mathemeticians have always known. Omnipotent single pointed unity unfolds into duality, and returns to unity.

http://charlesgilchrist.com/SGEO/AboutMan.html

http://www.youtube.com/watch?v=jDLMPIEjwCY

Correction

Problem: Producing 60 identical diamonds is proving difficult especially when creating one perfect to act as a template for the cutting machine eludes us.

Solutions: Laser cutting involves a change to expensive materials and delays. Mindful that I will be marked on learning and results not on thinking I need a quick good-enough solution.
Resolution: I have taken the decision that near enough is good enough and that I will adjust the pieces as I go. I don't need them to all fit each other, just create sets of three - using the rotary sander to correct.
Ultimate solution: I propose to cut laser cut one perfect template from which to set the machine. Underway at time of writing.

Meantime: While waiting for what I will make 3 works using white foamboard to determine what is to be learned about making corrections. Also I can prepare how to lay out the room in prep for a large number of items being painted and dried with undercoat. A key will ensure correct assembly.

Learning: Fit - is more important than accuracy on this project. As long as centre fit, I can trim the outside with no discernible difference. This has implications of how they will fit together when tesselated, but that's another story another day. I can think of a million reasons to delay and wait for perfection, or just compromise as I go.

Artist ref: John Hurrel

Piece: Dice Piece 1.
Method: Acrylic on canvas.
Comment: http://www.art-newzealand.com/Issues21to30/grid.htm
Learning:
I can see why people might deride grids and lattice as obvious, but treated right, like this work, I still find delight in seeing it change direction in my mind. This would not happen as easily were it not for the 'randomly' marks that seem to act as shadows forcing the mind to resolve the image. It still dances for me. I am always fascinated by the optical effect that produces a dense spot in the centre of the intersections despite the fact that logically there should be an intensification of the lighter colour. Opposed as I am at this point to the texture of canvas, I find that my resolve is melting. The texture here seems only to add to the liveliness of the image, as though composed of sub-atomic particles that create the whole.

Artist ref: Sol Lewitt

Piece: Wall Drawing 1171
Method: Created by a team of artists under meticulous instructions.
Observation: Love this image, its as though the viewer has to touch it to be convinced it is not actually 3D. From this I can see the power of scale. When an image takes up ones peripheral vision, a different experience is encountered. That the visitor feels he can touch it, would satisfy Lewitt who seems committed to eliminating the distance between art and life by drawing directly onto walls. I am committed at this time to this optical illusions, as though to convey the basic illusion of space.
Piece: Serial object 1.
Materials: wood, paint, various.
Learning: I feel overwhelmed by this image, andstruck by its similarity to the work of Keith Tyson. Whatever motivated Lewitt to be so explicit has not touched me yet. I have along way to go just dealing with trying to express in 2 dimensions.
Piece: as stated.
Materials: Graphic study.
Learning: I find myself surpsrisingly impress with htis study. It acts almost like an animation in my mind in which some unseen mind is trying out the possibilities for simple structure. The mind of God if you will planning the carbon atom. Very cool.
Piece: Cube Structures Based on Five Modules • 1971-4 • painted wood
Method: Painted wood.
Learning: I feel there must be something very satisfying from having constructed something so simple that can deliver a powerful inner message. This for me is like experiencing the imformation level of structure minus a form. A proto-skeleton.

Piece: Open line structure.
Method: Painted wood.
Learning: Of course I relate easily to the intention of the work, but feel I want to suspend it in the air to be more aware of the isometric forms contained there! I cant imagine exploring 3D in the short term, as it feels like 'cheating' the trick, the delight being attempting to make 4 or more dimensional statements in 2. however, i could envisage a time when one might go in a sculptural direction in order to satisfy an Itch to experience the work in a new, sensory way.

Artist RefL Luisa Fong

Materials: Gesso and acrylic on canvas
Methods: Controlled dripping and painting.
Learning: I have always used board partly due to a background in graphics. I trust a medium that stays flat, and smooth. The disadvantage being it is much heavier than canvas. It seems as thought gesso has been used here as a smoothing agent as much as anything else. Worth investigating.

Cutting plan / accuracy

Plan A : Cutting on flat bed saw: To cut identical diamonds on a flat bed saw as per the cutting diagram illustrated. This involves making a perfect diamond template for setting the flat bed saw.

Outcome: It seems that perfect diamonds are not possible with the machine chosen as such fine calibrations are beyond its capability.

Plan B: laser cutting: Investigate C&C computer cutting machine on campus. The relevant staff were unavailable at time of writing, so input from Harry Redward, Building 76 was sought regarding the suitability of the project to Laser cutting on campus.

Outcome: There are two challenges: the planned wallboard product is not suitable for laser cut in Building 1 on account of harmful volatiles released during the cutting process. The same applied to custom wood. The only product permitted is plywood - a prohibitive $40 per sheet plus delivery. also the smaller bed size would result in a poorer cut-out rate.

Plan C: re-frame the problem: I considered the notion that the internal cuts that matter the more than the outside cuts, and that if one was to make hexagons, and cut 3 lines to meet at the centre, they must go back together as they have just been cut together. A discussion with David Chaplin from the school of Architecture, raised the issue of 'tolerances' in construction, and of how they must always be allowed for in structures. The one problem with this plan is - as they shapes are destined to be tessellated together, accuracy of all joins is vital.

Plan D : alternative supplier of laser cutting. An off-campus company, has been suggested as having more suitable volatile extraction equipment, and the ability to to take full sheets of materials. At time of writing a quotation is being sought.

Concept development

Concept: I am increasingly intrigued by the possibilities of creating dramatic effects with tessellation. It occurs to me that one could combine 3 macro images into one, by allocating 1 image to all left faces, a second to another, and a third to the remaining surface. The various meanings of the hexagon, cube, 6 sided carbon atom, geodesic domes, triangles seem to be never ending.

Development - Making

Cutting plan: I am intending to use scrap 12mm custom wood from building sites sold in TradeMe for reason of economy and waste reduction. Nevertheless, I am working out a cutting plan based on a full sheet in order to maintain consistency of size. Allowance is made for edge trimming as well as thickness of blade.

Size: This size (right) seems about right for effect, and weight reasons.

Cutting method: Using the large bed saw, accurate results can be acheved relitively easily using locked down guides.

Test sample: Accuracy is all important to this work - good results can be acheved by this method.

Final effect: This samples hints atthe final effects that can be achieved in terms of producing an optical illusion. It was interesting to note how much interest was being paid at the time by passersby - intrigued by this simple optical effect. Even here though, it is evident that cutting exactly corrent diamonds is a difficult task.