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.

Tesselating : general

Source and links: http://mathforum.org/sum95/suzanne/whattess.html

Artist refs: Contemporary Tessalating

I am interested to see how various artists around the globe end up making similar statements without direct communication with each other initially. This will be the subject on my Interprative article. A common hteme is the link between, 2D trianble geometry, that builds to 3D cubes, then heaxogons, then a further elaboration is the use of tesselation.

Olafur Eliasson: http://www.olafureliasson.net/works.html

Raewyn : (3rd year student Unitec)
Justin Marshall

Andrea Bugli

Artist ref: Jason Martin

My immediate response to his highly textural and often reflective or translucent work is to spend some time exploring the various textures and techniques he employs for my own purposes. My next project Compound I requires a wide variety of surfaces, treatments and reflective properties to express a myriad of experiences. I also note the use of the square, or cube format, common to artists dealing with primary themes. The main technique involved here is the dragging of a 'comb' through heavily applied oil paint. The first practical item that springs to mind is what the drying time and of the need for adequate ventilation! My poor room mates. Dont think - just do.

Doing

After all the brain lightening, I need to get on with the practicalities of doing, which at this point involves working out a size for my tessellated isometric cubes bearing in mind the size of the raw material - custom wood. It is my intention to utilise off cuts from building sites and the like.

Compound I : New Project

The mathematically logical extension of the triangles leads us to cubes - a metaphor for space, the media in which we create. Although my reading on such subjects has been confined to Western popular science journals, I was pleased to read in the course readings about the Tongan concept of time and space, ta and va, and of the beating of ta, and the need to nurture the space.
Folding the triangles through another dimension creates cubes, a fundamental metaphor for space, the media in which hall happens. It brings to mind the Kaaba -the empty space enclosed by a cubic structure that is at the heart of Muslim representations of the Creator. Malevich in his separatist manifesto saw the black square in a similar fashion. I find I am fascinated by the isometric cube with its ambiguous presence. Is is empty or full. This is a suitable metaphor for the fullness and emptiness in one concept of a number of faiths. When the points are counted, they number 6, which conveniently matches the structure of the carbon atom - the building block of all life. With this basic media established, I intend to launch on a celebration of all life. Additional input for Richard Fahey my tutor, regarding the possibility of tessellating these forms in the manner of the Romans and Venetians, in which they are interlocked into each other is a very exciting one that opens the possibilities to creating a larger effect on another scale. I am intrigued by the use of tessellating by modern artists such as Justin Marshall.
http://www.justinmarshall.co.uk/process%20pages/tilesprocess.html

The notion of creating a large work that is composed of many tessellated parts, at varying scales, that might produce a whole more than the sum of the parts is very exciting and challenging. I can also draw links to the work of Keith Tyson, whose Wide Field Array project which is composed of many small parts in order to convey a bigger message. Tyson was inspired by the application of a large number of smaller telescopes arranged in a grid in order order to capture a bigger picture. http://www.keithtyson.com/#/projects/largefieldarray/exhibitions/
When isometric cubes are tesselated, their immediate resemblance to what we think a fly might see with its compound eye immediately produced the trully satisfying pun : Compound I, an excellent platform from which to celebrate all of life as it emerges from a common source. The gaze of God if you will.

Perpertual Origami : Finished

I am pleased that this piece conveys well my original vision of continuously folding planes of geometry as well as overjoyed at the final effect. The various facets and unfinished creases provided and endless play of light and animation for the viewer that was unexpected. This aspect alone is worth further investigation in the future.
I will be pleased to see how this piece responds in different lighting conditions. I am immediately struck by its resemblance in essence to Picasso's Gurnica, and the work of Escher as well as Gaudi. An excellent suggestion by Karl (tutor) to do 2 more works at a much larger scale were thwarted by the limitations of the available PVC sheets. Should I locate a larger sheet size, I would continue this thread to exploit the warping properties of the PVC. There are endless possibilities to record due to the warping and reflective nature of the surfaced. I am very tempted to take to piece into different sites to record what happens in the reflection.


For more details of this work go to:
http://www.flickr.com/photos/12d-into-2/sets/72157623891489177/show/

Applying top layer

Creasing: The final layer to this project involves the creasing and attachment of the PVC sheet that takes on a faceted appearance.
Clamps were useful for stretching the sheet to overcome the tendency to shrink away from the board edges due to the creases.
Attachment: I had pondered endlessly in my mind about how to attach the PVC sheet to the board without solution. while poised with the final vinyl triangle, it occured to me in a flash that the obvious answer is to use the vinyl triangles them selves to attach the sheet to the board. It is tempting to call this the vinyl solution. I am overjoyed at the final effect especially as I worked out a method of creating a crease that penetrates only part way into the sheet so that we feel we are witnessing a process of becoming. The warps created by the creases provide an endless play on the light arriving at the sheet when the viewer changes position. This creates a liveliness and sense of energetic animation I did not anticipated.

Perpetual Origami : project : applying

Methods: Earlier experiments with different surfaces confirmed that the a roller would produce the correct type of texture as required by my concept. The paint is spirit based blackboard paint. Next time I will use acrylic based paint for the quicker drying and easy clean properties. Discovery: When taking the picture right, I noticed that I cannot seem to take a random picture to save myself, I am always compelled to compose it for maximum effect- often producing pleasing results that can inform future projects. Another discovery (by doing!) was the accidental marks left beneath the adhesive which could be explored further as a potential source of subtle imagery. However, for this current project, an even texture is required- the image being whatever is reflected in on the surface itself. I wonder how many people will pick up that intention? The final effect created before the application of the top layer is attractive in itself. At this point I am aware that something magical nearly always happens to the perception of preparatory work such as tracings and sketches once they are pictured and cropped - appearing as finished works.

Perpetual Origami : project : plotting

This is the piece in progress at the time of feedback received. With renewed energy, I flew into it production of and soon became engaged with the problem solving required to bring this project to completion. Modeling of the triangles became important in order to portray isosceles triangles accurately and to compose effectively. I did toy for a while with the idea of a more random set of triangles, but soon rejected it in favour of a reductionist attitude in keeping with the fundamental nature of the content. different compositional problems were solved by subsequent tracings, simplifications, allowances for dark and light shapes catered for. This was all a powerful reminder of the exhortation of the tutors to learn by doing and not thinking. It has to be accepted that graphics with its concern for spending other people's money can act as a inhibitor and that it will take time to rehabilitate my 'responsible' instincts. A final clean copy was completed before committing to cutting and laying of the songwriter vinyl adhesive.

Direction correction : Kristy

The essence of the feedback from tutors was: less reading and thinking and more doing. Having spent 30 years in graphics, I sense I am becoming bogged down in this triangle/geometry based project that does not seem to represent my previous free somewhat Pollock-like work. It was however in my mental in tray to be expressed and must represent some fundamental place 'space making' process I need to go though before playing again with more free flowing elements. I accept that there has to be a media, a stage, a medium, for the creation to occur in. Kristy's suggestion that I find a way to bring the two elements of 'self' together, extreme order and play, were gratefully received. Doing this would represent an integration of the two sides of my nature. >>insert sketch of 4 layer project<< This promted me to consider bringing hte elements together as represented in the sketch.

Large Field Array exhibition : Keith Tyson

This exhibition entails a large number of smaller works representing a range of mediums. A dominant feature of the work is the reliance upon the cube as a format for expressing a wide range of ideas related to deep level order in nature, overwhelming diversity arranged in a grid system. Array refers to to notion of many smaller componants providing a bigger picture - reference is made to pixels, and telscopes arranged in an array. A notable feature of the opening page is the the use of the isometric cubes arranged on a grid that mimics the exhibition proper as a means of placing the objects in relationship to each other as well as in time.
http://www.keithtyson.com/#/projects/largefieldarray/examples, I am immediately struck by the use of isometric cubes as a format for both relating and expressing ideas. I have for some time signalled my own intention to make use of the isometric cube to explore ideas of deep level subject matter taking place within space, respresented by the cube - itself composed of fundamental elaboration of triangles. The use of a standard format over the coming months will allow me to commit to a series of conceptual and making porcesses without constantly reinventing a format. Even the lamp shade in my studio betrays my fascination with the cube.