Gained in Translation part 2 – my work

Following on from the cardboard structure I had created in the previous weeks (as a translation of the drawing I had made from my partner’s description of a plastic severed foot prop), we were tasked with further translating this into different materials – wood, and then clay moulding for a plaster cast.

My finished wooden piece

I enjoyed finding an even more generalised form for the wooden interpretation – I utilised some very strong timber (previously used as a wooden fencepost) as I wanted to evoke the solid and supportive role this object could take. Cutting and sanding this to smooth out a more organic form was hard going but I am pleased with the end result on the arch of the foot. The graining on this part also is very interesting, and unique to the material used – I think it adds a suggestion of movement and dynamism as well as materiality.

The most difficult was the concave jointing space that I cut out from the foot piece, to slot the cylinder within it. This was to replicate the joining mechanic I had used in cardboard, but it was too sharp a curve for the saw to do, so I had to cut straight towards the curve line and break off as many pieces as I could with the saw, before chiselling down by hand. This proved very hard work, and I did not quite achieve the finish I had wanted. I might find a different solution to this if I were to repeat this/look to produce a finished piece.

The cast plaster

I took quite a different approach with the clay/plaster sculpting – here rather than simplifying/generalising I explored detail that had featured in my cardboard structure, and some abstract forms. I first was interested in exploring the effect of depth and relief when carving the clay, though it was difficult to fully envisage what the finished result would be in the plaster reverse. I knew that I wanted to attempt a full standing foot like I had achieved in the other materials, so I doubled the depth of my clay to ensure I could achieve the height required. I’m not sure the generalised shape that I reproduced here is as effective with this material as the detail I captured, e.g. of the severed top of the foot in the bottom corner.

We were given instruction to prevent undercuts in our mould, which I tried to follow, but I think some of the finer detail in my design still meant clay was not easily removed from some of the crevices.

It’s interesting I think that here again we can see I am repeating the concentric circles/vortex motif that I have been exploring in survival!

Approaches to Drawing: Research/my work

I was keen to try out the single line approach with drawing for myself having looked into Calder.

First I had a go with doing a figurative piece based on my cat, Jasmine.

My first attempt (top left) I had started with a gel pen and I like the design of this work but the line quality was not as satisfying, so I moved into brush pen for the remainder. This also gave a little more freedom to my stroke, where I perhaps had been a little more focused on ensuring the pen did not lose contact with the paper with the gel, giving a more precise and static feeling.

I explored the depiction of the distinctive markings she has – a black stripe down her back and into her tail. I think this perhaps over-complicated the picture though, and I find the more simplified line drawings more satisfying. I enjoyed adding a suggestion of texture with the outline though, and developed this in several test runs. The final work I think has the best expression of this, and I am especially pleased by the impression of the right haunch – here the line is not so literally portraying her outline but highlighting the form in another way.

It was relatively quick for me to run this exercise, so could be easily repeated, though it did require several iterations for me to explore it. Perhaps this iteration gets streamlined with practice, but I am interested that this helps process the visual into something more essential.