tag:blogger.com,1999:blog-15521979818454271552024-03-05T18:50:57.984+00:00minor castingsthinking through the things i makeAnonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.comBlogger220125tag:blogger.com,1999:blog-1552197981845427155.post-77563466483649350222014-11-17T15:37:00.000+00:002015-02-10T17:02:28.253+00:00Edinburgh Contemporary CraftsI forgot to tell you that I've moved into Edinburgh Contemporary Crafts. I taught an amusing fusing taster on Saturday where I showed people to make fused glass snowflakes, it was fun! More in the new year, in the meantime, a fuzzy picture of things I'm working on. <br />
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<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-14147140869621616992014-11-11T15:06:00.000+00:002015-02-10T17:44:47.545+00:00A Hop Across the Pond<div style="text-align: justify;">
I was in Canada for a wedding, which was the awesome, but because of that, I got to drop by Sheridan, where I first studied glass, and talk to the current third years. I really enjoyed it, I gave a talk about my work, but most interesting was having a conversation with them afterwards, I got to see a bunch of their work, and it was really great to talk with them about it see where they were going and what inspires them. I also got to hold one of Marc Petrovic's birds that he had done as a demo earlier in the year. They're completely incredible.</div>
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I also got to go to SOFA in Chicago! I've enjoyed it in the past, it is often overwhelming, jam-packed and shiny, but full of awesome. Being inside, and since I only had my phone, the pictures I took were terrible! I was very happy to see work by Jeff Zimmer, Alison Kinnaird, Amanda Simmons, Keeryong Choi, and Misun Won at the Craft Scotland booth, which looked fantastic, and to be able to hear Jeff, Che, and Amanda's talk about working in Scotland. Other highlights for me were <a href="http://www.sofaexpo.com/sofa-selects/216-00-us-dollars-currency-converted" target="_blank">Lauren Tickle's "Currency Converted"</a> jewellery project, <a href="http://www.sofaexpo.com/sofa-selects/analytic-concept-of-breaking-up-the-game-into-larger-or-smaller-operations-1" target="_blank">Ljubica Knezevic's "Analytic Concept of Breaking up the Game into Larger or Smaller Operations"</a>, and <a href="http://www.sofaexpo.com/sofa-selects/mel-douglas-turning-tide-2-gradient-linear" target="_blank">Mel Douglas' "Turning Tide #2, Gradient, Linear"</a> (apparently I have similar taste to the people who were judges in "SOFA Selects" so I've given you the links to their choices, sine the pictures are of the actual work that was at the show).</div>
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On the way to Chicago, we stopped in Detroit. Look, it's part of the Heidelberg Project:</div>
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Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-32834157479562994802014-10-03T15:43:00.000+01:002015-02-10T16:59:10.583+00:00Sometimes Useful @ Craft Scotland Conference<div class="separator" style="clear: both; text-align: center;">
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This weekend was the Craft Scotland Conference, and I was happy to be included in the showcase that was part of it, "Sometimes Useful" curated by Rhona McCallum, and to be able to help out. It was a great weekend, and really nice to see everyone after being away in the Czech Republic for so long.</div>
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Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-5500721127889095442014-10-01T15:36:00.000+01:002015-12-30T13:54:01.155+00:00School of Jiri Harcuba <div class="separator" style="clear: both; text-align: justify;">
After the Symposium, I was also able to attend the School of Jiri Harcuba. It was a smaller group of us, lead by Pavlina Cambalova that met at the Glass Centre in Sazava, just south of Prague. The week started with the opening of an exhibit of works by Jiri, and it was wonderful to be able to spend more time, seeing them change as the light changed over each day in the week. The Glassworks is a wonderful studio, and if you've got a chance to to a workshop there, it is worth going. </div>
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One of the most amusing things we did over the course of the week was engrave glass slides and tell stories with them: </div>
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<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-42891722459447896332014-09-29T15:04:00.000+01:002015-02-10T16:38:37.543+00:00Symposium of Engraved Glass Kamenický Šenov<div style="text-align: justify;">
I got to go to the International Symposium of Engraved Glass! It was lovely, I met so many interesting people, and re-connected with people I'd met before. It was amazing to be at the glass school in Kamenický Šenov, which is the oldest glass school in the world, and I have been hearing about since it was threatened with closure when I first started working with glass.</div>
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Also, I won an award for innovative use of engraving.<br />
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The Preciosa Lighting Factory, which is in town, had an open day while we were there, and they were letting children that were visiting try out glass cutting:<br />
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Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-37453437888952566132014-08-23T15:07:00.000+01:002015-02-10T15:42:18.425+00:00Neon with Richard WheaterRichard Wheater came into the ECA glass studio to do a neon demo, and as a recently graduated student I was lucky enough to be able to participate! It was exciting, and we got to bombard things with electricity and flame work with a ribbon burner.<br />
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<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-50083354284032745732014-07-18T15:22:00.000+01:002015-02-10T16:48:20.857+00:00More Black Cameras<div style="text-align: justify;">
I was invited to show at the New Ashgate Gallery in their Autumn Crafts Collection, so I made a few more of the black cameras, which seemed to be the most interesting to people at New Designers. It was really lovely to get back into the studio.</div>
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<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-35000604498171090062014-07-06T15:03:00.000+01:002015-02-10T15:13:36.477+00:00New DesignersNew Designers was overwhelming, the show was huge, and there was so much interesting so see, even though I barely spent any time away from the booth. I guess I could say more, but here's a picture.<br />
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I made quite a few contacts that I hope will be useful in the future, and have been invited to show in a few exhibitions in the upcoming months, so, maybe it would be valuable to try to come again next year as part of One Year On.<br />
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<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-9803829394483362522014-05-20T18:32:00.000+01:002014-05-21T14:19:19.800+01:00New Engraving In ProgressI've making a new engraving for the perspective piece, I've done it a lot better than the last one, so far, at least, the sandblasting part.<br />
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Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-6868901892508261612014-05-19T18:04:00.000+01:002014-05-21T11:08:03.135+01:00Concrete Casting with Harry<div class="separator" style="clear: both; text-align: center;">
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Since Harry's been working with concrete, and I just went to the demo at Minto House, but haven't really tried it myself yet, he helped me cast a base for the perspective engraving piece today. It's snowcrete, so it will be white, made of 3 parts white stone, 2 parts play pit sand and one part snowcrete. The mould was made of 1mm vacuum forming plastic, and the glue that you use to hold it together is magical. We re-enforced the mould with plaster, just in case.</div>
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<span class="s1">My learning outcomes for this semester are Resolve, Communicate and Reflect. I’ll start with reflect, since it’s a better direction through which to bring you all into the project.</span></div>
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<span class="s1">My project explores problems of perspective, time and understanding of identity. We think of our “selfs” as continuous, and tend to associate “what is on the inside” with “what is true” and “what is true” with “what is stable.” I aim to question this assumption through the objects that I make, making things that make the outside world their core, and place a projection, something that is constantly changing and moving in a place normally associated with stability and authenticity, thereby to place change and instability in the place of authenticity. </span>Mihaly Csikszentmihalyi and Eugene Rochberg-Halton, in their 1981 book “The Meaning of Things” come to the conclusion that a major reason that we collect objects is to help us define ourselves. The things that we surround ourselves with are indicators that we use to define who we are, they can be the basis of or evidence for our self narrative. This narrative, though we may think of it as objective, is more aspirational, we tend to make up stories about ourselves based on our past that tell us what we can be now and in the future, and justify our present selves with an "I've always been like this, I must be this way.” I think that if there is one thing about identity that is interesting and authentic, it is that it has no centre: it is always changing, always responding to and integrating new experiences and influences, we are made up of the intersections that we experience. Sartre’s ideas about self apply here: the self is not a unified thing, is is a task that we must engage with. We are always in the process of creating and re-evaluating our narrative, creating ourselves in the process. Modern neuroscience supports this, it finds that there is no central, unchanging self or soul, more a confluence of social and experiential aspects that we create ourselves out of. The self is much more akin to the heraklitan river that you can never step into twice than it is to an object. </div>
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<span class="s1">So, based on that idea that the objects we live with help us to remember who we are, to build and remember our personal narratives, I have been making objects that are attempts to create a reminder of change, impermanence and choice. I intend these as tools for thinking with.</span></div>
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<span class="s1">Linguists George Lakoff and Mark Johnson, the authors of “Metaphors we Live By,” argue that conceptual metaphors embedded in our language direct our thinking without us being conscious of it. Our opinions about things are modified through the language we use. Many of the metaphors we use when we speak are related to surfaces and interiors. Surfaces are often represented in English as changeable, inauthentic, disingenuous; it is what is on the inside that is seen as truthful or authentic. Beauty is not real, it is "only skin deep." My confidence may only be a façade. We also have an intuition that our identity is unchangeable, somehow centred, and that it is possible to “uncover” our “true” self.</span></div>
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<span class="s1">These objects, camera obscura integrated with engraving, challenge this common association, because they have an ever-changing interior that responds the surrounding environment, and a stable exterior, positioning the changeability in the place of authenticity, and the part that is unchangeable on the surface, reversing this common association. They project their environment into their centre. This is not to say that we are nothing but the place we are currently in - the objects make looking at the mundane here and now an interesting, and somewhat difficult task, because of the interference of the engraved surface. They are objects that must change, and to be understood, they must be interacted with, and they help the user to want to notice the here and now.</span></div>
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<span class="s1">Now, resolve: There are a number of locations in which we access our identities, each of these sets of objects reference one or more of these. </span>The first three cameras on the right continue the theme I started last year, with the layering of drawing with cameo engraved portraits, and the work that was sent to Emerge at the Bullseye Gallery in Portland. These reference the continuity of memory as a source of the self. These are meant to be individualised, particular, the overhead perspective brings a contemplative mood, and places the projection in the head of the portrait, referencing the transience of our thoughts.</div>
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<span class="s1">The next three are similar, referencing the body as a source of identity. These are not portraits, I have tried to make them as non-recognisable as possible, hiding some of their faces and making the people curled up in the foetal position, to create an introspective feeling that could lead the user holding the object to feel protective, or compassionate towards the person in the image, and possibly find themselves in that space.</span></div>
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<span class="s1">The next two simply have texture, referencing our senses as a way of integrating the world. The engraved texture interferes with the projection, but not as directly as with the opacity of the cameo in the ones to the left. This makes these a little bit more accessible to the viewer, because the projection is obvious, and makes them a good entry point to the work.</span></div>
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<span class="s1">The next five palm-sized cameras, reference tradition and community as a source of identity. The cutting is based on traditionally-used glass cutting patterns, battutto and brilliant cutting, and the marks come around the shape, interfering with the projection.</span> Like with the others, the surface engraving and texture get in the way of seeing, the existing surface interferes with understanding of the projection. Pre-conceived notions can block out some understanding, or distort perspective. These ones each have different focal points, the user has to move around with them and interact with them to figure out what they can be used to look at, at what distance they focus. As with language, we often don’t notice our culture and it’s influence on our thinking until we can step outside of it. </div>
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<span class="s1">The piece to the far right, the large wooden camera with the stand is a reference to the multiciplicy of perspective. It is a work in progress, put together in a way that I can get it apart later. Next week, it will have a stand that is cast concrete, and the engraving will be different, and more complete. The shape references mathematically drawn lines in formal perspective.</span> The engraving here is architectural, to emphasise the relationship with formal , single-point perspective. The image is of an Edinburgh street, full of bay windows, which you might be able to see emerging. This object plays with the idea of a single perspective by overlaying multiple optical perspectives with a singular hand made perspective.</div>
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<span class="s1">I’ll finish off with a few words about communicate. I’ve been developing professional relationships this semester through continued participation with the Glass Engraving Network, particularly in collaboration with Katherine Coleman and Nancy Suttcliffe. That will continue to develop at an increased rate over the summer as the symposium in the Czech Republic approaches and I have more time to dedicate to it. Additionally, I have had the pleasure of having Alison Kinnaird here in the studio. She has been an invaluable resource in learning more about copper wheel engraving, and particularly about improving my figure modelling and my drawing for engraving. Amanda Simmons was also a wonderful influence and resource, we had interesting conversations about kiln forming and its aesthetic, and she was valuable in helping me to improve my skills in gravity forming.</span> I still use my blog as a space to explore my process, but over this semester it has become less technical, I am still keeping notes on each kiln firing that I make, but they are logged in my public folder in Evernote unless there is something new that I am doing in the kiln, such as the gravity forming that I have been learning towards the end of this semester. </div>
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<span class="s1">My website has and continues to be a place to displaying finished work, rather than process, but links to all of my other web presences.</span></div>
Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-20166140746428560312014-05-09T15:53:00.000+01:002014-05-09T15:53:00.334+01:00Final Hand In.<div class="separator" style="clear: both; text-align: center;">
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Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-66085427611122294662014-05-09T14:34:00.000+01:002014-05-11T22:27:05.841+01:00Distorted Perspective Piece, Prototype<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZaW27ZaNfwVzqx1g0YoHEYz8X6O4rfy7hw4l6P5oV-KzdI1ONi0IjHkafnYrHgWeLnrVWlYGsI3kQWVWK7bN2Xvr3oQ8qcIPZpdZhCcVfljulafOc154xLaOX1IDEvKSPhU2fgnfSjCY/s1600/20140509-0080.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZaW27ZaNfwVzqx1g0YoHEYz8X6O4rfy7hw4l6P5oV-KzdI1ONi0IjHkafnYrHgWeLnrVWlYGsI3kQWVWK7bN2Xvr3oQ8qcIPZpdZhCcVfljulafOc154xLaOX1IDEvKSPhU2fgnfSjCY/s1600/20140509-0080.JPG" height="400" width="267" /></a></div>
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So, this is sort of coming together. It's a prototype, the acrylic frame is glued on badly, so that I can get it off later, to replace the glass with a more finished engraving. In the final show, the stand will be a cylinder of cast concrete, and the attachment between the box that holds the engraving and the stand will be better, right now, it's quite wobbly, but the stand is at this point, just a placeholder.</div>
<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-57756726258928162932014-05-09T00:18:00.001+01:002014-05-09T01:39:14.200+01:00Last Minutes!<div style="text-align: justify;">
Tomorrow is my final hand-in, and I am still working on things. Like, actually still making stuff.</div>
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But, you know, it started to come together, so I couldn't stop. This is something I've been trying to get to work for a long time now, and have been horribly failing at. The engraving's not done, but I've learned a lot from it so far. It's the biggest thing I've ever engraved, it's 23 cm at the front edge, and about 47 cm long. It will eventually be an image of an Edinburgh street with the bay windows that are so typical here. Like with my other engravings this year, the dark points in the image are the clear, and the light points are opaque white. There are five lenses in the back side of the box that project images that overlay each other, through the clear parts of the engraving, which are mostly the building walls. </div>
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Also, I found a stand for it in the wood and metal shop at Minto House, so that solves so many problems. I'll make one that is intended for it purposefully, but I do like the idea of retrofitting old objects, and repurposing them into my work. Also, many thanks to Scott for running all over the university with me and helping with woodworking!</div>
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In the foreground of the image above is the first engraving I started for this, I I'm going to keep working on that after the hand-in tomorrow, and hopefully have this actually fully finished for the degree show at the end of the month. Below is a picture of the projection.</div>
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Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-15693010347729313502014-05-06T23:19:00.000+01:002014-05-09T14:42:07.424+01:00NetsukeIn looking back at this semester and the objects that I've been finishing, particularly the black and clear cameras, thinking about touchability, via Bonnie Kemske, and about Edmund De Waal's "<i>The Hare with the Amber Eyes."</i> I think it would be interesting to further explore Netsuke, as an influence or inspiration for the black "incalmo" cameras.Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-75722510030644203342014-05-06T22:11:00.001+01:002014-05-06T22:11:52.252+01:00The Bank, Eye, Glass ExhibitonI'm going to be in an exhibition in at The Bank in Eye, Suffolk, that opens this Thursday. If you're in the area, you should check it out. The work I have in it is old, from before I started at Edinburgh, but I'll be in good company.<br />
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<a href="http://www.thebankeye.org/glass-exhibition.html" target="_blank">More info here.</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX3uqeK-c_6CLJpkBk1LpgPYOXD1yo2754Do6fINP9qvt22LxZYEodg3bCjC588CgnZIxjoXTmffbTYcE7p7AFTRzJwtKbLhfSxHmtEByyWl1GzIgeWyTjK6qlD_1AjldxKKCZHN7MVYQ/s1600/blog-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX3uqeK-c_6CLJpkBk1LpgPYOXD1yo2754Do6fINP9qvt22LxZYEodg3bCjC588CgnZIxjoXTmffbTYcE7p7AFTRzJwtKbLhfSxHmtEByyWl1GzIgeWyTjK6qlD_1AjldxKKCZHN7MVYQ/s1600/blog-1.jpg" height="267" width="400" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-31627575774714586682014-05-06T00:27:00.000+01:002014-05-09T00:34:26.927+01:00Portraits<div style="text-align: justify;">
Things are coming together quickly now. It's really nice to be in a flow of getting things done. I've forgotten to mention that I've posting progress pictures pretty regularly on Instagram these days, it's great, because it keeps me going... if I need to do at least one thing that is worth taking a picture of each day, that means I'm definitely getting things happening. You can find me at www.instagram.com/ainsleyfrancis</div>
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The coloured, gravity formed portrait cameras are done. Pictures!</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4JYlV4CZMYLBk2mEegwtpkQcOiLaPay4BigOw1mJ0X2L7JUw7pvmdmZMHeXxIVk5RSGrqvnAGriH5Wz4XZo6oo_yb3MFHEq_ukqFT_GGM9Afhyphenhyphen0p2AqhcoPd5rv2qnRRzbFcB46fn2rI/s1600/20140506-0008.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4JYlV4CZMYLBk2mEegwtpkQcOiLaPay4BigOw1mJ0X2L7JUw7pvmdmZMHeXxIVk5RSGrqvnAGriH5Wz4XZo6oo_yb3MFHEq_ukqFT_GGM9Afhyphenhyphen0p2AqhcoPd5rv2qnRRzbFcB46fn2rI/s1600/20140506-0008.JPG" height="267" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9SPwyIP-njdrPakpkWRZQZNtVLLUXxq8j_i-t9uRvwn1SCyD2crgbjPUgzBMfGgjZa8gVRTdnkHAwvFH-fnHJnJQXp67T33pU2PGyKmtU5xKzB75uMCtZmDANSQjB9MKrAX1vg-opda0/s1600/20140506-0022.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9SPwyIP-njdrPakpkWRZQZNtVLLUXxq8j_i-t9uRvwn1SCyD2crgbjPUgzBMfGgjZa8gVRTdnkHAwvFH-fnHJnJQXp67T33pU2PGyKmtU5xKzB75uMCtZmDANSQjB9MKrAX1vg-opda0/s1600/20140506-0022.JPG" height="267" width="400" /></a></div>
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Not great pictures, but there will be more in the future, of course. </div>
<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-39140516815054930852014-05-02T09:11:00.000+01:002014-05-09T01:28:13.231+01:00Lasering the Perspective Box<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgMa1LpIgaBqx49j6CIQn3Q8crFkHJCEVItABzvZgqUXgQO6s2otY2r7Q8FBLH5eOvGj_0iXzcdtT1MiC_WTmJ7xiJiw4EUG2bWY5Joo9Z3lQZVgmnE-qXCRHkBGQQ0p5STmYVlHGZAbM/s1600/IMG_20140501_153453.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgMa1LpIgaBqx49j6CIQn3Q8crFkHJCEVItABzvZgqUXgQO6s2otY2r7Q8FBLH5eOvGj_0iXzcdtT1MiC_WTmJ7xiJiw4EUG2bWY5Joo9Z3lQZVgmnE-qXCRHkBGQQ0p5STmYVlHGZAbM/s1600/IMG_20140501_153453.jpg" height="300" width="400" /></a></div>
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I've modified my plans and decided to try lasering the box for the perspective piece, I'm not good enough at woodworking, and Alan is too busy to help, so I took it down to Keith's laser. It didn't cut through, really even after two passes, and he said that I should be able to cut it out with a stanley knife, so I'll try... I'm skeptical. The engraving in the image above is actually sandblasted, with a vinyl resist. The reprographics guy was pretty skeptical that it would work, but I'm pretty happy with the results. Below is the beginning of one that I started with wheel engraving. They are different pieces of glass, so I'll have two when they're both done.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOBd-m89mhO7ozdUk55MDuVTcT_msoGg9Uq1JvkygO7eKjVBh7b_aHu6HIHXCQzsC9T2hoRStagp12RUGIO4y0VXflkhLfpuKvkhtIabxytRWVu5KdS3fcIwXlA2XM5PQygJsANMTDqho/s1600/20140428_122413.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOBd-m89mhO7ozdUk55MDuVTcT_msoGg9Uq1JvkygO7eKjVBh7b_aHu6HIHXCQzsC9T2hoRStagp12RUGIO4y0VXflkhLfpuKvkhtIabxytRWVu5KdS3fcIwXlA2XM5PQygJsANMTDqho/s1600/20140428_122413.jpg" height="225" width="400" /></a></div>
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Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-73504591610018817302014-04-29T10:15:00.000+01:002014-05-09T01:16:14.274+01:00Glue! So much Glue!<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMc-G68ecxpy9UJ2ZK0XFI_NyXVDla8vtA2AiXWS7meGC8nnCmv8NBE5dLeASB3-OUv4Q38SHgn2HwDQSm9EOb7Yqap57rwis5XXK7QBW_m3CxJq2KpVJPGPxf6kydYXUYEWlDDRqHKnM/s1600/IMG_20140428_192924.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMc-G68ecxpy9UJ2ZK0XFI_NyXVDla8vtA2AiXWS7meGC8nnCmv8NBE5dLeASB3-OUv4Q38SHgn2HwDQSm9EOb7Yqap57rwis5XXK7QBW_m3CxJq2KpVJPGPxf6kydYXUYEWlDDRqHKnM/s1600/IMG_20140428_192924.jpg" height="400" width="300" /></a></div>
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<span style="text-align: justify;">I've been doing so much glueing lately. I'm getting better at it, but I still don't think I like it. Also, engraving: </span></div>
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I love drawing on my glass. I really need to find a way to work that into my final objects. Especially pencil lines, they are just to delicate, and I love the texture they add to the image.</div>
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<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-43476558763225452642014-04-28T17:34:00.000+01:002014-05-09T00:22:19.274+01:00Black Cameras<div class="separator" style="clear: both; text-align: center;">
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I've got some stuff that's finished! and I took pictures! Charlotte helped. I think these are quite difficult to photograph, they work best with interaction, with the person in the image. It makes them make more sense when you can see the projection and it's object at the same time, I think. Though, the images are misleading, since Charlotte is looking through them the wrong way, and she can't see the projection herself.</div>
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<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-83185883271632257772014-04-26T19:18:00.000+01:002014-05-09T00:02:08.571+01:00Kiln Incalmo<div class="separator" style="clear: both; text-align: center;">
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I had a good talk with Amanda while she was in the studio about kiln glass and hot glass. It's interesting, because I like to blow glass, and I'm not bad at it. I could practice more and I'd be better, of course, but I've had about three years of experience blowing, and I experimented a lot in that time with different techniques. That said, I am just not attracted to the aesthetic of the work I make it in the hot shop, and I don't want to be required to have a relationship with a hot shop in order to make my work in the future. If I get to have access to one from time to time, that could be fun, but I don't want to be dependant on it. Also, I like the sharp lines of cut and kiln glass. But, still people keep telling me that I "could do that in the hotshop" and, in many situations, it's true.</div>
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Amanda's work is sort of similar, she goes through a long process in the kiln to do something that could ostensibly be done in the hot shop. We were talking about this because the black cameras reference incalmo, a glass blowing technique where two different coloured cups are fused together at the lip into one vessel that has two (or more) colours, separated by straight bands. I like it in blown glass, but the cast, glued and cut glass is just so sharp and direct. I am often told that what I'm doing could be done through hotshop processes, which is sort of true. Yes, I could make heavy clear and black incalmo, but there would be so many problems with them. These are small... about 10 cm diameter. The clear part is solid glass, and the black part is hollow. I love the weight of them. Black is softer than clear, and the best way to put the lens in would be to make it fit into the "neck" of the vessel (which is a thing I've been thinking about for these, it could be interesting to make vessels where the stopper was the lens). So, with heavy clear away from the pipe and soft black near the pipe, keeping control of these in the hot shop would be difficult, they could be done the other way around, keeping the clear heavy side near the iron, but even then, the line definition that I get in the cut and glued version would be lost.</div>
Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-83155993840900792522014-04-25T17:43:00.000+01:002014-05-06T22:37:12.403+01:00Amanda's Return<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuRbcZKC3uADf2M3FvuI7kVgkNUm32ffNF8XrKJTzH6HpJSxpjyJ2P0A5MTiqDzDKMeWs8ei7BTWusaxrX92GVi0H_GNJK0s32oM1SJoFkAumDFNfcfqooK-o9Cu38bvSYM-ku5yDtAQ/s1600/20140424-4-2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWuRbcZKC3uADf2M3FvuI7kVgkNUm32ffNF8XrKJTzH6HpJSxpjyJ2P0A5MTiqDzDKMeWs8ei7BTWusaxrX92GVi0H_GNJK0s32oM1SJoFkAumDFNfcfqooK-o9Cu38bvSYM-ku5yDtAQ/s1600/20140424-4-2.JPG" height="267" width="400" /></a></div>
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Amanda Simmons came back and walked us through the kiln part of her process. I had already set up and fired the kiln, so it was holding just before the final ramp when she came in. It was interesting to see how dramatically different the same program can be in different kilns, our kilns are all very large, so, while in the kiln that Amanda normally uses, the hold temperature is quite low, and only rests at top temperature for 20 minutes, we actually ended up gradually increasing the temperature by 40 degrees over about 2 hours and 30 minutes, since the glass really wasn't moving at all. </div>
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Amanda had some fun playing with hotshop tools to manipulate the glass while it was at temperature, and we added a brick under one of them to control the flow of the glass around the form.</div>
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It was useful to me, since I've been thinking of using moulds to modify my glass in gravity forming. While I still need to work on making them slump deeper than I'm getting them to, I was thinking that it would be good to cast moulds of my lenses to rest on the kiln shelf below the drop out, to give the right shape to the slump, and make sure that the focal length is correct in the final object.</div>
Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-56872294612720006972014-04-17T12:20:00.000+01:002014-05-09T01:22:23.220+01:00Wood Cameras<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDHNZfi8f11lC3GVIcynAg7MqQ1uAt_E25vBDhEK-EXRcEWLqbt-NUk29ABN33Y1CvlVjeqpZVA95ZBCUZgwkPS5r1Ph5SNuM4FV49ykEq7AS1AnG9YAERfdUf6z88X1LDA_2OXdEtYF8/s1600/IMG_20140416_181301.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDHNZfi8f11lC3GVIcynAg7MqQ1uAt_E25vBDhEK-EXRcEWLqbt-NUk29ABN33Y1CvlVjeqpZVA95ZBCUZgwkPS5r1Ph5SNuM4FV49ykEq7AS1AnG9YAERfdUf6z88X1LDA_2OXdEtYF8/s1600/IMG_20140416_181301.jpg" height="320" width="240" /></a></div>
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The wood-case cameras that Alan turned for me are coming together nicely. I just thought I'd post a quick update. They will have white acrylic collars on the front and back to hold the lens and engraving in.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkyATtKKfrmIYLTMtxaMnuVU7sIbgGTQJ43ALrf1oVI_YIGItoatByYZMFDNR1WDWMbsEsLKbL2XvZX6kz1qe-JzRyUVmZE0N3MoylcS97a3syraMnG676zZrWXE_2Es1L8TKqaF6ucBc/s1600/IMG_20140409_152247.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkyATtKKfrmIYLTMtxaMnuVU7sIbgGTQJ43ALrf1oVI_YIGItoatByYZMFDNR1WDWMbsEsLKbL2XvZX6kz1qe-JzRyUVmZE0N3MoylcS97a3syraMnG676zZrWXE_2Es1L8TKqaF6ucBc/s1600/IMG_20140409_152247.jpg" height="320" width="240" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-77383816324840340552014-04-17T10:33:00.000+01:002014-05-09T14:52:46.011+01:00Touchability and MaterialI've been modifying my materials, and I think it's important to talk about why. Glass is a fascinating material, but it has a tendency towards the cold and untouchable.<br />
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I want people to interact with these objects, to pick them up, and spend time with them. One way of doing this is through making them in materials that are welcoming.<br />
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In her article in Ceramic Review, <i>"</i>Breaking the Taboo" (January 2009), Bonnie Kemske, whose PhD at The Royal College of Art was focused on tactile ceramics, talks about taking work off the plinth in the gallery. She makes people comfortable with this by having them sit in the gallery and hold the work with a lot of their body, cradling it in their laps, hugging it. I'm attempting to do it through material.<br />
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Connection to hand pieces from earlier?<br />
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<br />Anonymoushttp://www.blogger.com/profile/06537229140047829006noreply@blogger.com0tag:blogger.com,1999:blog-1552197981845427155.post-24772367149166365212014-04-15T18:05:00.000+01:002014-05-09T01:09:32.090+01:00Milling for the First TimeI spent a lot of time with a CNC router, milling collars for the wood cameras. It was a pain, because even tough we taped the acrylic down, and nailed it down and attached it to a piece of MDF, it still moved around, and didn't cut all the way through. But, it will do.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHJ5VYv8Ml19Xec9NS7mXCqluJ17tC95z9dJ1395oXLJTZCeZI_yffHElBj136yUcZaihiv7W1Qe1OiLT4VHWXc4y9VwL5I89msNe2ICIQ3ZW3HSZqv2Il3u-bUFAALfFWcDWFuFzh9w4/s1600/IMG_20140415_163036.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHJ5VYv8Ml19Xec9NS7mXCqluJ17tC95z9dJ1395oXLJTZCeZI_yffHElBj136yUcZaihiv7W1Qe1OiLT4VHWXc4y9VwL5I89msNe2ICIQ3ZW3HSZqv2Il3u-bUFAALfFWcDWFuFzh9w4/s1600/IMG_20140415_163036.jpg" height="400" width="300" /></a></div>
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