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Monday, 15 June 2015

Gosplan, 2015

Here are some photographs of one of my finished pieces. Apologies for the the poor photo quality as I used my phone to take them, so the colours are a bit muted.




Thursday, 28 May 2015

!...2...3 and I'm back in the room!

Well back in the workshops at Plymouth College of Art to be precise. As a result of my Hothouse activities, I have kindly been allowed back to use the facilities on an informal residency. So I am currently working on a new body of work that is influenced by Constructivist architecture.

Copyright: Andrey Stvolinsky

My main focus has been on the grids and tessellation of windows, and the piece that I am working on uses the main round window of the Gosplan Garage by Konstantin Melinkov.

I started to make my model from clay but I decided to use polystyrene instead. I used wooden coffee stirrers for the window frames. However I had problems with gaps so I had to cut out, accurately, cartridge paper to cover these gaps.









From this I made a silicone mould so that I could make wax casts. There was problems with the window frame details breaking off or the wax not getting into the channels, so I did a silicone cast form the silicone mould which worked perfectly. I used the rest of the polystyrene ball to make a mould. This half-sphere mould could be filled or partially filled to create sections in wax, as if sliced in half or thirds.



I eventually made open-cast plaster/flint moulds of all the sections.



When these came out of the kiln, I set about grinding them smooth so that I can assemble them as complete pieces.





I plan to fuse the sections together by making moulds and stacking the sections within these moulds and firing them in the kiln.






Sunday, 3 May 2015

Alphaville: New photos!

I have just had some new photographs done of the Alphaville series. I would like to thank Rod Gonzales of Optimo Images.







Photography by Optimo Images/Rod Gonzale


Saturday, 25 April 2015

Free Alphaville Book

A digital version of the Alphaville book is now available free to read now.


Tuesday, 16 December 2014

#hothouse5

I am pleased to finally announce that I have been accepted onto the craft Council's Hothouse programme.


Press Release

Crafts Council announces the 39 new makers selected for Hothouse 2015 The Crafts Council has selected 39 makers to take part in the six-month Hothouse programme which is delivered in partnership across four regions in the UK.
Hothouse has quickly established itself as a gold-standard professional development programme for new makers. Over the last four years 122 participants have completed the programme with 100% of last year’s cohort of 38 saying that the programme had enabled them to think differently about the direction of their career.
This is the first year that Craft Scotland has sponsored a cohort of six makers all based in Scotland. Other new regional partners include Manchester Craft & Design Centre and Manchester School of Art.
The 39 makers selected already display a high level of technical craftsmanship and originality but the programme, which starts in February 2015, will equip them with the business and creative skills needed to run a successful and sustainable craft practice.

“Hothouse has proven itself an invaluable programme for early career makers and it is only possible by working with knowledgeable and enthusiastic partners. This year is no different and we are looking forward to working with Craft Scotland on the first Scottish cohort.” Rosy Greenlees, Executive Director, Crafts Council
“We have seen the positive impact on the careers of the few makers in Scotland who have been fortunate enough to have taken part in Hothouse programme in previous years. Therefore we are delighted to host a Scottish cohort for the first time and look forward to learning alongside the makers in their journey of discovery and development.” Fiona Logue, Director, Craft Scotland 

Wednesday, 19 November 2014

Present Makers 2014

 My work is appearing at Present Makers 2014 at the Thelma Hulbert Gallery in Honiton, Devon, until the 20th December.

@ThelmaHulbert

DL Photography



Monday, 20 October 2014

(Get your kicks on) Route 66!



I have been working on a commission for my cousin Karen, who took her family across the United States along the famous Route 66. Karen wanted a version of the route sign in leaded glass. I downloaded a photo and manipulated it so that I had a high contrast print that could then be used to create the "cartoon". The cartoon is an accurate drawing of the panel, which indicates the glass and lead sections.














I also had to tighten up the lettering as the characters had started to fill and I wanted to sharpen up the typography. So I was now able to paste this onto the finished cartoon.



I decided that I wanted the lettering on the shield to be "reversed-out" of colour, so that the lettering would be clear glass. I thought that powdered and granulated glass (frit) would emphasis the weatherbeaten aesthetic that are a feature of these rusting signs. I used Spectrum 96 compatible fusers glass for the clear glass base and the "grit".



 I cut out the lettering from a copy of the cartoon and stuck them in position with double-sided tape. I could then apply fuser's glue and sprinkle the powder and granules onto the sheet of clear Spectrum 96. On the lower panel of the shield I used powdered frit and then poured more fuser's glue and let it run to give the impression of spray paint graffiti.






















Once the glue had dried then the lettering was pealed away from the clear glass bass and fired in a kiln. Unfortunately the firing proved to be problematic as bubbles were formed on the lower panel, causing the lettering to distort. I then decided to follow the distorted shape of the lettering, again to emphasis the shabby aesthetic. 
Despite spending quite a bit of money on my Dremel tool, the attachments were not suitable for glass so I ended up using the tips of diamond files to hand etch the lettering.


I was able to complete the panel despite the issue with the glass bubbling in the kiln and the subsequent distortion of the lettering.