The final "Installment"

   The fired Navaho Wagon was labelled and ready to install.






The lines were passed up from below to the top of the deck.





  The lines were secured above the installation area with wood pieces and nails. 





  Set-up of the bull kelp and arranging the rocks to hold the holdfasts was tricky in high winds and rain.






The halogen light cast shadows on the enclosure.






                           
The holdfasts needed to be braced by the rocks because of the wind.     







 The anenome was added for effect.






It is a source of great amazement to me that it is and remains UP:)






The Beginning:)  Thanks!

The Kiln is on!

          As of this morning , there are a lot of empty shelves in the   drying room.
All of my semester's efforts were piled on kiln shelves. Many thanks to Scott for getting all the bits into the kiln in the right number of peices. Short people need CircD'Soliel training to get clay work to the bottom of the kiln and then get themselves out.
So many techniques to learn and challenges to overcome:
Besides Scott and Gem's support, I found a lot of written resources and inspiration in the Library.
Getting familiar with the clay, its strength and flexbility.
Experimenting with cookie presses and soft clay.
Cutting dies for the 6 inch extruder.
Extruding multiples with 3 different dies and two clay bodies.
Making and using plaster molds of two-part forms in three sizes.
Using the slab roller.
Rolling and shaping multiple tubes under two feet long using Murphy soap and 3/4 inchX 3 foot metal pipes.
Creating a maquette of the proposed installation (Mixed colours of Plasticine,copper wire,stones,foam core).
Clarifying strategies for drying and assembly of the individual parts of the full sized installation.
Besides all its' physical parameters, this entire project was so rich in helping me clarify my priorities in making art through clay.
The conflict between making "Object" and making"Idea" was always there.
The need to define personal aesthetics as they applied to the overall idea.
Trying to visualize in three dimensions, the relationship and assembly of all the parts, in a specific context.

This project will lead to others...I love working with clay and want to explore the use of paperclay as a sculptural tool.
Research is underway and the paper is on order from a friendly recycling source.

October 5 All the bits in the damp room,drying.

   I made a maquette of the bull kelp project.
   Scale approx 1 inch to 1 foot.
   (Final installation in 10 foot space.
   The floats of the kelp will be suspended at the 8 foot height,
   The holdfasts will be set on rocks at ground level.)
 
   Not everyone has access to plasticine from West Germany:)
   Yes, a thrift store find. I gave the bright colours to my grandson:)

  Glued the foam core with Liquid Nails....a strong choice.
  It is a challenge to position the pieces in a corner. (The fired clay  installation would work in either a linear or corner setting.)




Rocks were both natural and "made" of plasticine.
Natural rocks to be used in the final installation.

Stripped fine copper wire acts  as suspension line in the maquette.  Alternate suspension materials would be aircraft wire or  heavy weight "fish line" for the final clay project. I intend to fasten the lines to multiple points on strapping for attachment to the ceiling of the display area.


As with the final installation, each stalk or "stipe" of the bull kelp is made with multiple tubes. The "holdfast"(or foot of the algae) fastens to  rocks. The float is connected at the upper end of the stipe.  The blades of the algae are suspended at the same level as the float.


Each float and blade has several suspension points to maintain its position.
Miscellaneous notes: The growth of a kelp blade occurs at the point of connection of the stipe to the blade. Each kelp has a life span of up to two years. It's float contains enough carbon monoxide to kill a chicken. I am a bit sceptical of this last point because I know about the swimming prowess of chickens.
It's not impressive.
Humans have been known to pickle stipe rounds. No recorded mention of eating the floats:)

Ending October and rushing November

Thanks to Gem's demo and encouragement I produced 12 plaster molds.
The first forms were for the heads of the bull kelp.
Gem showed me:
how to measure plaster and water.
how to add the plater to water.
how to minimized air bubbles.
how to tell when it was ready.
how to choose prioities in moving FAST.
how to cleanup!

Sucess rate okay...
one cottle wall failure
one mold needed a patch.
one needed to be redone after i dropped it:(.



Making molds for the holdfasts was equally exciting.
Made much more plaster.
One cottle broke and was repaired.
6 molds had to be modified to get rid of undercuts.
Luckily damp plaster carves fairly cooperatively.
         


Now I have slabbed and molded clay for six holdfasts
and six "heads" in Navaho Wagon and three holdfasts and heads in the alternate clay.









Used metal rod coated with Murphy soap to form the stalks for the bull kelp. Slabbed,cut, wrapped and slipped enough tubes for all the holdfasts and heads in both coloured clays.



The Lazy G die did not survive the shift to the stiffer Navahoe Wagon clay combined with being banged into position in the extruder chamber with a piece of wood. (roll eyes)



Was able to complete all extrusions for blades in both clays by using a slightly smaller die in a cleaned out chamber.

October Week 3 and a bit

Bringing a new clay into the mix.
Same source Stoneware Cone 6.
1-C517-2921



Love the little mouldy green effects before wedging.





The die for these extrusions was a loosely shaped capital G.
The opening was drilled a little more narrowly than previous dies.
The angle of entry for the clay was more severe.
The detailing was also sharper (ie less polished).



The clay tended to roll into a spiral on extrusion.

It was possible to unroll the extrusion while positioning it onto a board.
It's full width was greater than the 6 inches of the extrusion chamber.


The new clay is delightfully flexible.
It draped over cardboard rolls or by hand.
Hope it makes a subtle contrast to the colour of the Navaho Wagon.

October Week Two

After the experiments in extruding using softer clay and hand extruders, research/discussion has presented a new challenge.
6 inch dies from lexan and plexiglass.
Paper rolls and a mitre box for cutting extruded forms.
Thin piece of foam mounted in the mitre box to allow cutting right through the form.

 I slowly cut each 6" die on the band saw.
Rounded them up on the belt sander.








Nine should be enough:)






The first attempt using the drill press to cut the central hole and multiple smaller holes. Then using the dremel with a rasp bit as well as a hand rasp, was able to remove unwanted part.



Each die takes me several hours to complete; a challenge to calculate the angle of clay entry into the die and the balance of flow of clay under pressure. This surface is smooth and the serpentine shape will give the option of a slightly wider piece on extrusion.



Here is a textured surface which I plan to manipulate as the extrusion decends. Will test if some horizontal movement adds greater variety.




The dremel with the rasp bit speeds up the process but a two handed grip is needed as it wants to buck, left to its own devices.
 Removed the protective wrap from the dies and used a propane torch to smooth the sanded surfaces. Now for the tests!:)

October Week One

The name for a 5 sided figure with ten triangular extensions?





Dangerous and very delicate.




I've started with three of them and hope.





The pentangle has dried to leatherhard.
The triangular shapes are barely dry enough to hold their shape.



Time on the wheel with my favorite batt.
My thumbs and fingers remembered a few of their tasks:)


I have been replacing the bits that didn't survive the drying  process...and forgetting to use the camera:)