01Material As Identity
Crafting ‘The Materialist Self Portrait’ was a voyage of rediscovery for me. Each material I chose carries with it not just a texture or a color, but a resonance, a piece of history, and a story to tell. The Plaster Sketches represent the foundational structures in art and perhaps, in life. They are rigid, yet they serve as the canvas upon which the fluidity of creativity is mapped. Silkstone Dolls evoke a sense of refined elegance. This material, reminiscent of my childhood, mirrors the transition from youthful fragility to the robustness of adulthood. Warm Wool** is comfort and nostalgia, evoking the security of a mother’s embrace or a cozy winter evening wrapped in memories. Doll Hair brings forth the element of playfulness, reminding us of the innocence of childhood and the tales our toys could tell if they spoke. Plastic** is the modernity, the contemporary part of our lives that’s both malleable and defined, depending on how we shape and perceive it. Acrylics offer a prism of colors, reflecting the diverse shades of our emotions, experiences, and endeavors. Yarn threads the narrative, interweaving the past with the present, and perhaps, giving a nod to the future.
Personal Manifesto
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I use materials from childhood dolls and three-dimensional geometric plaster sketch objects from my art studies to construct my visual narrative. In my artistic universe, childhood memories and adult rationale coexist, intertwined. They are akin to the paintbrush in my hand, jointly crafting my distinct artistic signature.
Art, as I perceive it, is not solely about innovation and exploration. It’s also a homage to the past, a memory cherished. My doll memories transcend mere nostalgia for carefree days; they provide a profound insight into the relationships between past and future, fantasy and reality, and individual versus the cosmos.
I champion an inclusive and multifaceted perspective on art — one that reveres tradition yet dares to innovate, melding emotional expression with rational contemplation.
02
Distorted Vessel​​
This work is a manifestation of contradictions inherent in everyday contemporary living. Plaster and hessian fabric form the basic materials, while timber serves as the casting framework providing a sturdy foundation. We came across this final object based on exploration and experimentation with materials throughout the semester. By gaining knowledge of the contrasts and differences between materials, it sparked a rethinking of everyday items in our lives.
02Material As Medium
Our artwork is an experiment on the balance of contrasts, utilizing materials like wood, plaster, and concrete, and expressed through irregular shapes and structures. This project aims to explore the contrasts among the textures, colors, and tactile qualities of different materials, as well as how they achieve balance within irregular forms. (I'm charge in Plaster.)
Material: Plaster
Plaster can be applied either directly to walls and ceilings or onto a layer of laths (thin strips of wood) to create what’s known as a lath and plaster wall. Once dried, plaster provides a smooth surface that can be painted or decorated.Apart from its use in building, plaster is also used in art, particularly for making sculptures or casts, due to its ability to capture fine details and its smooth finish.
Material: Polyester
Another natural fabric, boasts of a rich history dating back to ancient civilizations. Known for its durability and strength when wet, linen might react differently to plaster, forming sculptures with potentially greater structural integrity. Its naturally coarse texture could also introduce a distinctive aesthetic to the end product.
Material: Cotton
​Cotton, renowned for its natural origin and breathability, has been a staple in various applications ranging from fashion to home furnishings. Its malleability and capacity to absorb moisture may offer interesting prospects, especially when saturated with plaster mixtures. The interplay of plaster with cotton fibers might lead to unique textural outcomes and strengths in the finished sculpture.​
Our teamember and I conducted our first combination of materials. I chose plaster material and used fabric formed techniques with the aim of designing a plaster that appears soft and has a cushion-like shape. Jiaen chose walnut timber material, and Mint selected concrete material. Timber serves as an intermediary between plaster and concrete, balancing the three materials.
FabricFormed Techniques
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Fabric formwork is an innovative construction technique where flexible, permeable textiles are used as formwork for concrete (or plaster) structures, as opposed to traditional rigid formworks. This technique imparts unique textures and patterns to the finished concrete surface, making it aesthetically appealing and often more sustainable.
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With an aim to craft a distinct, hemisphere-shaped mold, the project commenced by selecting a durable plastic shell for foundational support. This shell, with its inherent rigidity and perfect curvature, was strategically positioned on both lateral sides of a wooden box. This setup seamlessly shaped the space into a hemisphere, creating the desired void for the casting process.
Once this structural framework was established, the next pivotal step involved introducing the fabric. The choice of fabric is crucial, acting as the intermediary that captures and translates the plastic shell’s shape into the final cast. This fabric, carefully chosen for its texture and malleability, was meticulously draped over the plastic-supported void. The intention was for it to hug the curves and contours of the hemisphere, ensuring that every nuance of the shape would be captured when the casting material was introduced.
Sketches
I’ve sketched out the preliminary designs for our balanced sculpture. Initially, the concept revolved around a simple stacking of the three distinct materials. However, as the design matured, timber emerged as the pivotal joint point, harmoniously bridging the plaster and concrete. Given the inherent similarities between concrete and plaster, timber’s role became indispensable, acting as a unifying intermediary. In addition, I’ve detailed the mold design employed for the plaster casting. I envisioned utilizing five wooden boards, each with a specialized coating, ensuring not only a precise mold but also facilitating a seamless release of the plaster once it solidified.
Workshop Process
During the workshop, I learned to use emulsion tools and sandpaper to polish plaster. I also mastered the hot wire technique, adeptly cutting out the required casting molds. Subsequently, I added cardboard for stabilization. I modified the dimensions of the wooden box, using a heat gun to melt hot glue, changing the width from 200mm to 180mm and the height from 100mm to 90mm. I then cut the wooden board and solidified it again with hot melt adhesive.
Testings
Subsequently, I added cardboard for stabilization. I modified the dimensions of the wooden box, using a heat gun to melt hot glue, changing the width from 200mm to 180mm and the height from 100mm to 90mm. I then cut the wooden board and solidified it again with hot melt adhesive. I went to a professional store, Barnes, and purchased a total of 25kg of plaster. I conducted numerous experiments at home. Even though I made a mess of my place, the experimental nature of plaster meant that the results of each mold removal were not always ideal. Given the tight schedule, I had to conduct a large number of tests to achieve the desired outcome wanted to press out the texture of the fabric, but it failed after five attempts. Maybe the upper layer of plaster liquid was too thin, so I finally polished it to a very smooth look.
Prototype
Because polyester fabric is more elastic, I chose to use this material for casting. I used edible PVC plastic as the arc-shaped bottom support. First, I dampened the fabric, applied a small amount of vaseline, and shaped it by hand to tightly adhere to the PVC. Then, I slowly poured in the plaster. After pouring the plaster, I let it sit for 10 minutes. I then dampened another piece of cotton fabric, placed it on top, and used my hands and a wooden block to press all the surfaces firmly against the liquid plaster. After waiting another 10 minutes, before the plaster had fully set, I pressed the top with a wooden grid casting frame I had made. The fabric naturally formed a soft-looking grid, reminiscent of a cushion with nine soft sections. However, after testing this method five times, the texture on the top did not meet my initial expectations. There were many bubbles, and while it looked soft, it wasn't smooth. So, I used files and sandpaper to repeatedly sand and thin it down until it finally looked as smooth and soft as a cushion.
Final Prototype
The plaster in artwork is ingeniously mounted in a cushion-like form on a wooden base. This structural choice not only provides a unique visual aesthetic but also contributes to the overall stability and balance of the piece. he fabric formed technique employed in crafting the plaster surface is a fascinating process. It results in textured and grid-like patterns on the plaster’s surface, adding depth and visual complexity to the sculpture.
03Material As Metaphor
This work is a manifestation of contradictions inherent in everyday contemporary living. Plaster and hessian fabric form the basic materials, while timber serves as the casting framework providing a sturdy foundation. We came across this final object based on exploration and experimentation with materials throughout the semester. By gaining knowledge of the contrasts and differences between materials, it sparked a rethinking of everyday items in our lives.
The term ‘Distorted Vessel’ encapsulates the essence of a container that defies conventional norms, presenting itself in distorted or deformed manifestations. This avant-garde approach to design often seeks to craft a unique silhouette or structure, steering clear of traditional contours. Such vessels are not merely distorted by happenstance; they undergo intentional transformation, resulting in an artistic and singular visual impact. By challenging and transcending the customary bounds of container design, ‘Distorted Vessel’ beckons viewers to engage in a deeper contemplation of form, spatial dynamics, and utility.
Philosophy
We experimented with various materials such as balloons, wood, fabric, and silicone for plaster casting, deriving inspiration for our designs from these trials and exploring the characteristics and interactions of the materials. During this process, we recognised that combining the hardness of everyday items with the soft texture of fabric could be a potential direction. Everyday objects serve specific functions. However, integrating them into the soft texture of fabric challenges traditional expectations of functionality. This contradiction not only adds an intriguing element to the design but also sparks contemplation on the relationship between functionality and aesthetics.
Materials
Hessian
Hessian fabric is commonly used with plaster in sculpture, providing reinforcement and strength to the material. We chose hessian because the texture of the fabric helps create a more natural and organic look, and the fabric’s pattern can add interesting details, enhancing the appeal of the plaster surface.
Plaster
We opted for plaster as our primary medium due to its versatile and transformative properties. Historically revered in sculptural endeavors, plaster possesses an innate ability to capture intricate details, allowing for a pristine representation of our vision. Its malleability during the wet phase offers an ease of manipulation, granting artists the freedom to mold, carve, and refine their creations. Once set, plaster transforms into a solid, durable form, echoing the permanence of our artistic intent. Coupled with the organic texture of hessian, plaster not only enhances the strength of the sculpture but also accentuates its aesthetic allure.
Background Investigation
In the initial phases of our final project, unlike Assignment 2, which primarily focused on individual materials, we directed our attention towards the exploration of our respective materials, exploring their textures, forms, and expressive potentials. Additionally, we made several visits to Barns in Carlton North, an expert shop specialising in casting and moulding. These visits provided us with insights and practical knowledge, enriching our understanding of materials and techniques.
Casting Framework
CONSTANTS
Support frame dimensions
Formwork geometry
Stitching Pattern
Fixed point locations
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VARIABLES
Hessian fabric elasticity
Pour points
Formwork material
Casting mix
Casting room temperature
Design Drawings
We made three changes concerning the size. Initially, we cut a piece of hessian fabric measuring 21 cm by 30 cm. Then we adjusted it to 14 cm by 20 cm, but the experiment failed due to severe gypsum expansion. To achieve a more elongated shape, we finally settled on dimensions of 18 cm by 9 cm. When pattern drafting and cutting the fabric, it’s essential to sketch out an identical design on cardboard, incorporating curves. Specifically, the top should have an angle of 80 degrees, and the bottom should be at 75 degrees. Allow for a 1cm seam allowance for stitching. Using a sewing machine, stitch it in one go, ensuring that the joined hessian fabric displays a graceful curvature.
Smocking Patterns Techniques
Initially, as a first attempt, I embarked on creating my first smocking designs. I sketched a grid of ten columns by seven rows, measuring 210mm by 300mm, onto the fabric. On both ends, I drew two squares, each 100mm in height and width, and added an additional 1cm seam allowance around the edges to facilitate subsequent stitching. I experimented with three smocking patterns: triangular, floral, and oblique triangular. Crafting these smocking designs demanded immense patience and time. By nature, smocking patterns are hand-stitched following the drawn lines. The stitches progressed from right to left; some patterns took the form of diagonal lines, while others were triangular. Each fabric piece contained seventy squares, resulting in smocking designs ranging from as few as 20 to as many as 35 patterns. Diagonal patterns required stitching twice, whereas triangles necessitated three threadings. Each stitch had to be repeated five to six times to prevent thread breakage. After completing each pattern, the thread had to be cut, and notably, the entire process could not rely on a sewing machine.
I then proceeded with a second attempt, using dimensions of 140mm by 200mm. I altered two of the diagonal patterns to have a vertical orientation, considering we were crafting a slender vessel. Thus, we modified the top to be 90mm wide, matching the width of our casting frame, and the base to be 110mm. During the cutting process, I left extra fabric at the ends so we could secure the cloth with nails. However, after the second trial, it became evident that the plaster, being a fluid, exhibited significant secondary expansion. Consequently, I opted to draft a precise pattern using Adobe Illustrator. I adjusted the overall size to a height of 350mm, shaping it with curves at angles of 75 and 80 degrees, a top width of 90mm, and a base width of 110mm. I downsized the grid measurements to 180mm by 90mm. The process of crafting a smocking pattern remains labor-intensive due to its hand-sewn nature. Each line in the pattern requires three to four back-and-forth stitches, with the ends tied off before cutting the thread. Continuous sewing can span six to seven hours.
Smocking Six Patterns Process
Sewing Six Patterns Process
During the smocking pattern process, I encountered numerous challenges. For instance, I frequently made errors in drawing the lines. Additionally, due to the large holes in the hessian fabric, tying knots with the needle often proved unsuccessful, necessitating a fresh start. It truly required immense patience, consuming a significant amount of time. Moreover, after casting the plaster and demolding, the thread ends would become embedded in the plaster.
Consequently, I opted to switch from brown thread to white. The rigidity of the hessian fabric, coupled with its challenging demolding process, meant I had to painstakingly remove each stitched line with scissors. Throughout our four experiments, each iteration demanded considerable time dedicated to the smocking pattern. Every fabric piece was single-use, presenting a significant challenge for us.
Casting Process
Design Outcomes
During the photography process, we deliberately chose a black and white tone filter and intentionally enhanced the contrast. This choice was not made by chance. The shift to black and white was to focus the viewer's attention on the texture of the material. In comparison, the color of linen might make the details of the texture less prominent. Enhancing the contrast was to give the texture of the plaster a more vivid and almost tangible effect. These photography and post-processing choices were made to better guide the viewers to deeply appreciate every detail in our work, ensuring they are fully immersed in the world our artwork presents.
Design Narrative
In our explorations this semester, the design of the vessel was not a casual choice but deeply intertwined with our design philosophy. A vessel, by its very nature, embodies the functions of containment and protection. However, in our design approach, it transcends its utilitarian role to become a metaphor for philosophy.Our philosophy delves into the inherent contradictions of everyday life, pondering how to strike a balance between rigidity and softness, tradition and innovation. Through the design of this particular vessel, we aim to showcase this equilibrium. The intricate exterior texture signifies the complexity and diversity of life, while the smooth interior metaphorically represents our universal desire to find a simplified, pure space beneath this layered complexity. The design of the external texture challenges traditional notions of vessel functionality, urging people to rethink their conventional views on containers and reflect on the deeper meanings imbued in everyday objects.For us, this vessel is not just a tangible item but a manifestation and interpretation of our philosophy on daily life. It represents a perspective and contemplation we wish to share with our audience.
Research Method
In our exploration, we underscored the contradictions present in contemporary living, using a blend of traditional materials like plaster, hessian fabric, and timber. This semester-long journey was characterized by rigorous experimentation and a quest to understand the nuanced interplay between different materials. Hessian, with its organic texture, not only complements plaster aesthetically but also reinforces its strength. Throughout our research, a recurrent theme emerged: the tension and harmony between functionality and aesthetics, and how they shape our perception of everyday objects.There were no research ethics risks identified in this project. The nature of our exploration primarily focused on material experimentation, skills and techniques. Our project did not involve human subjects, sensitive data, or any potential harm to individuals. The absence of direct engagement with human participants, combined with a focus on material and design aspects, mitigated the need for extensive ethical considerations in our research design.
Reflection & Contribution
Collaborating closely with my teammate Jiaen on this project has been an enlightening journey for me. I delved deeply into the intricacies of smocking patterns, confronting a series of challenges ranging from minute embroideries on hessian fabric to the details of pattern design. Dealing with the large pores of the fabric leading to knotting issues, to managing the challenge of thread embedment in plaster, every hurdle became a lesson in patience, resilience, and innovation.I vividly recall the countless hours dedicated to perfecting the smocking patterns, where each piece of fabric was for single-use, demanding our utmost precision and attention. This process underscored the value of meticulous planning and the importance of iterative refinement based on feedback and outcomes.Jiaen’s reflections deeply resonate with my experiences. Just as she emphasized learning through multiple trials, my journey with smocking patterns mirrored a similar spirit. Our combined efforts were not geared towards a hasty conclusion but embraced the entire process of discovery, experimentation, and refinement.From the outset, I consistently chose plaster as my material and gradually evolved into an expert on the subject. Our synergy as a team, coupled with our respective skill sets, amplified the success of our project. Jiaen’s dedication to mastering plaster complemented my commitment to refining smocking techniques. We recognized that the essence of our project wasn’t just about the final product but about every stitch, every pour of plaster, and every design decision made along the way.In conclusion, the Material World studio played a pivotal role in reshaping our design approach, underscoring the value of hands-on experimentation and the beauty of the journey surpassing the destination. For us, it was more than just a philosophical reflection; it was a process of redefining and interpreting everyday objects and materials in life.
Booklet
