Wright

MAKE!

January 2020 // GSA

 

A week of making in the workshop and studio

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[ wood / rubber ]

These structures a made from 2mm wood doweling and elastic bands. I was experimenting joining the wood without using glue or other adhesives that would permanently fix the pieces together. What was so successful about these objects was there simplicity in design but ability to create so many different forms. By using elastic bands, the seemingly rigid structures became very malleable; easily twistable and squashable, allowing them to be transformed by anyone that handled them. 

 

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[ MDF / wire mesh ]

This surface is made by fixing wire mesh beneath a section of metal grid. Before I stapled the mesh to the board below, I pinched certain areas of the mesh to raise it from the surface so it would protrude beyond the grid. Whilst the exposed edges of the mesh are jagged the bits that stick up from the body are smooth and inviting to play with. The properties of the wire mesh also allow the material to remain ridged after being pushed or pulled, holding its form until further changed.

 

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[ plywood ]

This ambiguous cubic sculptural sits within the volume of a 15x15cm cube. Made entirely out of plywood I built the form initially to be cast, however after enjoying intersecting the pieces of wood the final object became impossible to cast. I really like the play of volumes and the different horizontal and vertical relationships, which simultaneously create steps, walls, wells and cuts, all of which interact with light in different ways. Crucially the object has no function, instead being an exercise in material. The form could easily be transferred to the street as a monolithic sculpture, in any number of materials from concrete to metal. The different levels, sections and parts could afford a number of different uses from a simple climbing structure to a bench or seat.

 

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[ plywood ]

This piece is made up of 10 identical house shaped plywood blocks. Each five-sided shape has little discrepancy’s in dimension due to being made from two pieces of 12mm plywood, laminated together, which I then cut and sanded by hand. After playing with the blocks and configuring them in a variety of ways; balancing blocks on-top of each other, lining them up, scattering and stacking them etc. Despite being arranged in alternate directions, the minimal nature of the blocks in plane wood meant that the configurations had very little character definition. Using found spray paint from the workshop, limiting my colour choice to chance (incorporating the same spontaneity as the configurations), I painted some of the blocks faces to add a unique distinguishing feature. The different colours and patterns immediately engaged the blocks in a far more interesting and complex way by adding colour to the conversation of form and composition. What I really like about this piece is there is no set perspective to view the blocks. After building the composition viewers can move around the stacks, looking from all angles (above, behind, side etc). At each point the blocks take on a completely different identity, affording so many different interpretations without even being moved.

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[ Jesmonite ]

These two pieces I did together, in both the wood and the casting workshops. I wanted to experiment with the process of casting as I enjoy the idea of working backwards, constructing the negative of the desired form. For this particular piece I was inspired by the furniture of skate parks; wave ramps, quarter pipes and spines. Many of the ideas and themes I’m exploring overlap with the ideals and actions of skaters and free runners; how they adopt and commandeer everyday spaces and objects, then use them against their intended function to their own desire and enjoyment (performing tricks, stunts and challenges).

 

For the mould I used a plastic pipe, cut in half, and lined up in a corrugated pattern. Despite using Jesmonite for increased strength and resistance the casts were still hard to remove from the moulds due to the pinch points between the corrugation. Although one broke, I like the contrast between the clean and intact revers. Individually the casts are really aesthetic and playful forms, which together create satisfying conversations of form both interlocked and separated.

Compared to the other objects I created the castings were the most interesting, purely because of the mystery, anticipation and excitement between filling the mould and removing the cast. All the other pieces, although not necessarily planned out before, were constructed from start to finish. However, with the casting only the conditions around the objects were constructed, with the object itself formed independently; either to expectation, disaster or surprise.

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