Lo and behold! In-depth night is May 29th, precisely 47 days, 9 hours, and approximately 18 minutes from now.
But, after subtracting adventure trips and other miscellaneous things…it might as well be a week.
Oh well! It’s completely possible to compress weeks of work into barely a week of time.
I’m working on a few larger projects that will stay secret until In-Depth, but there will be sneak peeks posted here.
Concepts, perhaps my favourite concept of all. Meta-concepts! Waxing poetic may just be my second favourite, however.
- The concept of creation
- The idea of infinite possibility sprouting from a block of polyvinyl chloride-a completely fluid, abstract material that is at once something and nothing. Schrodinger’s polymer, if you will. And having it go through a process that transforms it from soft and changeable to a frozen constant of cured polymers. The handmade part is also important, as it is the action that creates, redefines and redistributes the material. In this case, the practical idea takes form in the part where the clay actually takes form.
- The concept of imitation
- The idea of using something that is definitely not organic material to mimic something living, like a plant. The techniques used for this kind of imitation is always amazing, and learning them myself is one of many awe-inspiring things part of in-depth so far. Using drag tools for creating striations for a single aloe leaf, or rolling canes to create realistic leaf veins…these are just barely scratching the surface. Here, the practical idea is recreation.
- The concept of “remixing”
- To take things apart and put them back together is something else: but it was never a written rule that what was taken apart had to be put back the exact same way. By taking and remaking bits of materials I could not produce or safely work with at home, I was able to make things that were greater than the sum of it’s parts.
- A few alternatives my mentor has suggested:
- When I mentioned a problem with the thinness and durability (or lack thereof) of clay, she suggested using resin, or at least attempting something along the same lines. However, since resin is expensive and kind of tricky to work with, I won’t be trying it until I’ve done more research.
- In exchange for using embossing powders to produce a metallic shine, she suggested using a good pigmented acrylic paint, allowing for better coverage as well as a more controlled finish. This one I liked a lot, as the embossing powders sometimes melted unevenly and made a perfectly well-done piece look unprofessional or flawed.
- I mentioned disliking the look of fingerprints on my clay, as it shows up really clearly if the piece is painted afterwards. However, I also really hated the feeling of wearing gloves, as they rarely fit well, and get too hot very easily. She suggested “finger-gloves”, a technique where you cut some cheap latex glove fingers off and put them on one’s fingers separately, allowing for good airflow through the fingers and still eliminating fingerprints.
The first ring I’ve made using the blanks! To celebrate the cherry blossom blooming, of course.
You can see the fingerprints, but that was kept for artistic choice, especially to mimic plant veins. The white patches in the middle is white pearl paint, reflecting the sunlight.