This image shows the flowers submerged in the plaster. However it could be interesting to present both together – the inverted plaster mold and the clay slip mold.Īt the same time as creating these molds I was experimenting with expanding foam and flowers, whilst I was waiting for the expanding foam to harden I wanted to see what the effect of pouring plaster over flowers would be. I wanted to explore using the tape alongside different mediums and have come to the conclusion that plaster is more fragile than the clay slip and just doesn’t have the same effect. As I have decided that my tape sculpture is going to be the main focus point of my final piece, I would like to have a contrasting medium to be presented alongside it. Overall, the outcomes from making an inverted mold were not as successful as my clay slip mold where I used the tape sculpture. I feel the rust added some colour to the otherwise grey/white plaster. The photographs show that the reaction between the wire and the plaster made it rust, I presume this is because of the way the water in the plaster mix reacted with the metal. Out of curiosity I decided to dip my wire into the plaster to see what would happen once it hardened. I could also have poured more plaster on the surface of the sculpture to make the layer holding the pieces together thicker & stronger. If I were to redo this plaster sculpture I would definitely try to be more careful when pulling off the tape to prevent the pieces from breaking away. I also find it really interesting that the plaster looks as if it has the texture of scrunched up paper. I am slightly disappointed that the sculpture broke apart as I wanted it to look like a cluster of tubular coral – something I was looking at earlier on in the FMP. As I had expected, some of the pieces broke away however I did manage to leave a few ‘clusters’ together. This was a challenge as the piece was very fragile due to the fact I didn’t put enough plaster of Paris on the top level so there was a very thin layer holding the pieces together. The process itself was very therapeutic as It involved picking away at the masking tape to reveal the plaster inside. The scale of these works are only as big as my honeycomb sculpture, this was just an experimentation as I wanted to see whether the plaster molds would stay joined together so did not want to make them too big as this might make the piece more fragile and then break. To achieve this I mixed up plaster with water and poured into the pockets created from the tape. Whilst the clay slip did work really well and created a delicate honeycomb structure, I wanted to explore different ways of manipulating my masking tape sculpture and decided to create this ‘inverted’ mold using plaster of Paris. I really like the idea that I can develop a completely new piece of work by in a sense ‘destroying’ (burning away the paper) another. “Our audiences will love these works they are highly engaging.Throughout the project I have been quite interested in and focused on creating molds from my existing artworks, for example I have already transformed my masking tape sculpture into clay by covering it with clay slip and firing. “To be the custodians of this into the future is extraordinary,” McColm says. The donated works join two pieces already owned by the NGV – a bronze and a plaster – and two of Arp’s woodcuts, featuring nature. “Shifting between abstraction and representation, organic and geometric forms, his work continues to assert the importance of art as a way to break down boundaries.” “Arp’s cultural identity was formed during a long period of charged nationalism in reaction, the artist refused to confine himself to a single language, nationality, artistic movement or material,” Büning said. “It was wonderful to see them together – the scale and the colour he achieved, and all the different forms he experimented with,” she says.Įngelbert Büning, director of the artist’s estate, Stiftung Arp e.V., said the gift to “a carefully selected group of museums” will honour the artist’s processes and legacy. McColm saw all 200-odd sculptures to be donated in a major show in Germany last year, before the works were sent around the world.
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