I relinquish control over material activity and subsequent changes in form.
I twist and secure bags with elastic.
I pour jesmonite liquid into plastic bags.
I observe the material navigating and inflating its passages, solidifying, and embodying its shape.
I unearth that the bags with reflective internal fabrics produce the smoothest surface finish.
I see surface irregularities, cracks and crumbling fragments that provide textural characteristics to the sculptural bodies.
I test material perceptions by enhancing the tactility of the work’s surface.
I apply metallic paint and gloss varnish.
I discover that it magnifies the creases and folds in the structure.
I view the sculpture’s exterior as a moving body in different lighting.
I uncover the position of the sculpture in a continual state of flux, available to continual changes.
I inspect the collective pieces, uncovering temporal surface compositions.
I am informed by material with every pour.
I integrate and question the process’s results, observing their visuality and considering how it releases its potential.
Does the act of relinquishing control allow material to speak if we are all subject to material existence?
READING SCHOOL OF ART
Part of the School of Arts & Communication Design
Phone: +44 (0) 118 378 8050
Earley Gate, 1, Whiteknights Rd, Reading RG6 6EQ