Blog
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Adapting a textiles pattern for my kneeling inflatable sculpture
I’m going to alter this Full size human doll pattern to fit on top of my kneeling mannequin. I need to start testing fabric and the mechanics of the fan too. -
Wishbone ice mold plans
I’m going to 3D print this to as large a scale as possible. Then use the 3D printed piece to create a silicone jacket mold, reinforced with Modroc, to create an ice mold. -
Slip cast results of children for ‘Not bathing but drowning’ sculpture (working title)
I slipcast a couple of different factory moulds as tests. I’m leaning towards the first one aesthetically.
I will work them more after the holidays, adding a domed slab to the top and neatening the skin surface. For now I’ve spritzed and bagged them so they don’t dry out.I think that I’d like the end piece in porcelain.I like the idea of the whole piece being white, as a reference to the innocence of the children inheriting the poison chalice of our current anticipated future.It also references white colonialism, which I consider to be one of the foundations or capitalism.Thinking about it more, I like the idea of the head being submerged in a traditional white Victorian wash stand basin. Using such a found object is reminiscent industrial revolution into the frame, which is what really ramped up colonial capitalism and made the current climate crisis possible.I will search for such a bowl. As before, I also have the option to commission one from a ceramicist. -
Not bathing but drowning
An aspect of my FMP installation is to have a ceramic sculpture with a head drowning/ submerged in a bowl of water.
I had initially planned to create a silicone jacket mould of my own face to do so.But then I found these slip casts in the ceramics studio!!!! So I’m using these to save time. Winner winner clay head children dinner. -
Weird Hope Engines, Bonnington Gallery, 2025
This was a particular exhibition experience because I had
some of my own work on display and for sale during the associated zine fair,
The Critical Hits Zine Fair.
I was struck, upon entering the space, by how much the
gallery had been completely adapted from the last time I saw it for the working-class
photography exhibition in late 2024. It succinctly illustrated the power of
creative curatorship and how you can transform a space to compliment and
amplify the works it is displaying at any given time.The Weird Hope Engines exhibition embraced the culture of
tabletop roleplaying games to explore play as a site of projection, simulation,
communal mythmaking, distorted temporality, and alternate possibility. The first exhibition of its kind, it
highlighted the practices of innovative designers, artists, and writers in the
field of independent game design, and brings their work into dialogue with
fellow-travellers in the field of critical art practice.There were multiple
interactive spaces throughout the gallery, all with different opportunities to
play and create. This gave the exhibition multi generational appeal. It also went
some way to dismantling the wall between art and viewer usually felt so heavily
in gallery space. This said, one of the volunteers there did comment that folks
still seemed reluctant to move the beanbags placed around the space. Pushing this
really appeals to me and I will look to how I can expand on audience participation
in my installation work.
Maybe it was coloured by the success of my work selling at
the zine fair, but I really enjoyed this exhibition. It felt intimate, thoughtful
and playful.
