#sculpturalforms

[found-fabricated]

Made lines and marks in silver and gold, fresh start for some new jewellery. Sculptural drawings you can wear. The jewellery shop will be be reopening soon- sign up to get notified. #lines #marks #sketches #scribbles #scrawls #folded #formed #sculpturalforms #tinysculptures #minimaljewellery #wearabledrawings #wearableart #sculpturaljewelry #visuallanguage #smallsculptures #drawings #oxidisedsilverjewellery #sculpturaljewellery #artjewellery #artistjewellery #artistmade #wabisabi #smallbatch #stuartcairns #artist #maker #smith #silversmith #metalsmith https://www.instagram.com/p/BuQ2s0sFLpO/?utm_source=ig_tumblr_share&igshid=e4v8u1tt01j1

[found-fabricated]

Simple sculptural forms suspended on silk cord. Work in progress towards pendants. #sculptural #sculpturaljewellery #sculpturalforms #oxidisedjewellery #oxidisedsilver #simplejewellery #smallsculpture #wearableart #pendant #scribble #hangingaround #sculpturaljewelry #lines #form #hangingaround #smallbatch #jewellerycollection #jewellerycollector #artistmade #artistjewelry #artistjewellery #contemporarycraft #contemporaryjewellery #artjewellery #stuartcairns #artist #maker #smith https://www.instagram.com/p/BrInfWYF_ma/?utm_source=ig_tumblr_share&igshid=lqbu0376zg2i

[damecuratedgoods]

#intherealmofthesenses #sculpture #lyndabenglis ‘s #sculptureart #sculpturalforms #references #bold n #lyrical https://www.instagram.com/p/COObg-LrvYL/?igshid=1mwoz1bxujclx

[hellosvstudio]

https://www.instagram.com/chrislabrooy/

http://www.chrislabrooy.com/

https://www.behance.net/chrislabrooy

[rioclasses]

[FF101.01] Project 2.2: Technician/Craftsman

MICA Spring 2016 Foundations (Freshmen)

Students swapped instructions with a classmate from the another critique session. Solely using their classmate’s instructions, students had (re)create their classmate’s foam mass to the best of their ability at 1/2 scale in OSB board (wood) and balance this wooden mass at the centroid point specified in their classmate’s instructions. Students accompanied their (re)creations with their own sets of instructions that rigorously detailed how to fabricated their classmate’s foam mass in OSB board (wood).

[rioclasses]

[FF101.01] Project 2.1: Excavations

MICA Spring 2016 Foundations (Freshmen)

Students created two unique sets of instructions that detailed a previous process of carving out foam volumes from an original mass and reallocating them  within a 24” x 24” x 18” volumetric boundary. Students’ reallocations were required shift the centroid (center of mass) of their original mass by 3” in a particular direction. During their excavation process, students were asked to consider what “holds” or “defines” their negative spaces left behind from their excavations, as well as the negative spaces created by their reallocations. Students were asked to produce two sets of instructions that were clear enough for anyone to reproduce their process of excavation and reallocation. Students’ instructions should have clarified how deep their excavation cuts were, the dimensions of each excavated volume, whether their cuts twist/turn in space/direction, and the position of their excavated volumes’ reallocations. One of their instructions must have been produced as a hand-drafted axonometric. 

[rioclasses]

[FF101.01] Project 1.4: Scale

Prompt The past several weeks have been dedicated to exploring concepts of translation: two-dimensional representation to three-dimensional construct, line to plane, and plane to volume. In this next project, you must combine these explorations into a sitting-structure that can support the weight of a human body. The dimensions of this sitting-structure must be 3 ft. x 3 ft. x 4 ft. (no smaller, no larger). Begin by finding a volume defined in your planar or linear construct. How does a body inhabit this volume? What is the tectonic language of the structure that defines this boundary? Search for other volumes defined in your planar and linear constructs. How would a body lay across, in between, against these other volumes? How would other bodies (tall/small bodies, young/old bodies, male/female/androgynous/non-gendered bodies) experience these volumes. Translate these mental explorations into a sitting-structure that positions the body in a similar fashion to the logic of your past works (take not that I use sitting-structure and not chair). Use this weeks readings to help inspire and define these questions.

Materials You may use any materials you desire, as long as they relate to the logic of your previous projects. The use of glue and tape are still prohibited!

Body When constructing 1.4, actively think about the body. Use Le Corbusier’s Modulor Man as a reference. Realize that not all bodies meet these dimensions, so question why I am asking you to build a sitting-structure for the Modulor Man.  We have talked extensively about evoking a sense of mood and movement in the previous projects. These qualities should be translated into your 1.4 structure. Use your animations from 1.1 a reference for how a body could move on, through, or around your sitting-structure. Your structure should make various types of bodies perform in different ways (being able to sit, stand, lie down, extend limbs, feel constricted, move freely, feel claustrophobic, etc.). Ask yourself, “How does my structure, structure the body?”  

Scale/structure Be cognizant that you are constructing at a significantly larger scale. The integrity and stiffness of a material in your past projects may not translate at a larger scale. You need to think about how your sitting-structure is structured (its tectonic language)! In other words, how do you ensure your project will not fall apart when bodies sit on and interact with it. This requires careful consideration of material type, your method of joinery, material thickness, etc.

[rioclasses]

[FF101.01] Project 1.3: Plane + Surface

Prompt How does a line imply surface? Does it frame (perimeter) a region that you translate in a plane? Or, does a line extrude back in”space” to “thicken” into a physical barrier? Translate your linear construct from 1.2 into a new planar construct made from two planar materials different in thickness and opacity. Think critically on why I am asking you to use two different planar materials, and how their differences effect the reading of depth. Your choice in materials should relate to your previous works. Avoid the temptation of wrapping your linear construct in a skin. Keep in mind three things throughout the process: transparency, thickness, joinery!

Materials

+ TWO PLANAR materials of your choosing. These materials must differ in transparency, thickness, structure/form/materiality: i.e., bass or balsa wood, chipboard, cardboard, paper, card-stock, foam core, acetate, vellum, plastic, latex, fabric, sheet metal, etc.

+ The use of glue and tape is prohibited... again! Think about how surfaces are joined together: are they stitched, tongue and groove, lap joint, dovetail, dado, doweled butt joint, mortise and tenon, waffled? Not all joints are about adhering two pieces of material together, sometimes a joint involves creating is a fold.

Thickness Thickness is an important quality you cannot  ignore! Most of the materials artists and designers use begin flat with a uniform thickness and dimensions determined by the world of shipping. The artist/designer does not passively accept standardization! You must be critical about where, why, and how your surfaces thicken. Be critical on how you structure the thickening of surfaces. Do you layer them and shave them down? Do you create an internal structure (ribs) or warp them into form? Keep in mind that a straight line in one dimension could be a curved in another dimension.

Transparency Transparency is a marriage between material, light, and space. Various material opacities allow for a reading of depth (foreground, mid-ground, background). Transparency also means a clarity of intent, content, or idea. Your linear constructs from 1.2 allowed the eye to easily travel through a complex gathering of linear form and space. Your drawings were built up and erased down, leaving ghosted paths. How does this happen when using a bulk of opaque and transparent planes? How can you retain the clarity of projects 1.1 and 1.2 in this next step? You should stay true to the formal language of your past works