Form Evolution

At this stage in my project I am focussing on the overall concept development, toying with the idea of a game and interaction, my aim here is to to start exploring a structure as a carrier to begin testing my approach.

My point of departure was developing the geometric magnetic components that had evolved at the end of module one into a modular series. I had previously made these in both paper and steel and apart from the weight, there really wasn’t any aesthetical difference.  For this development stage, I am working again in paper as this allows models to be created much more quickly, and embedding the magnets inside also opens up more connection possibilities between these elements.

I begin with a simple cube, made in a series of nine. I also took the opportunity to explore the possibilities of refining the process in paper building on what I had learnt in my previous module. Taking note of the weight of paper, 300 gsm which is much thicker than I have previously used and using a bone folder to obtain a neat and crisp fold. The centre of each inner facet was measured and a 0.73 pull neodymium magnet was attached to the centre of each surface. Having already begun testing various magnetic strengths in my previous module, I knew this strength was a good starting point.

The cubes were then constructed and a wood filler applied to fill the seams and then sanded back, so the surface was ready to prime. The first set of nine was a little ragged, but as a I made more, a larger and smaller set of cubes and a set of dodecagons I was able to produce a much more precise finish. The only adjustment I will test is with a lighter weight card as on some of the larger angles the paper did fray.

Within my background reading and research, I had been researching potential methods of displaying and the installation of my work. A key text that I have loved reading, Shows and tales: on jewelry exhibition making, Lignel, Benjamin‏, editor, author; Art Jewelry Forum, along with exhibitions from Munich Jewellery Week such as Sentimental Journey featuring both Helen Britton and Felix Lindner, have opened my horizons, but looking beyond jewellery, I was directed towards the work of Christian Boltanski, a contemporary French Conceptual interdisciplinary artist.

https://www.guggenheim.org/artwork/54
Christian Boltanski, Humans, 1994, Photographs and lights
https://www.guggenheim.org/arts-curriculum/topic/christian-boltanski
Christian Boltanski, Autel de Lycée Chases, 1986–87. Six photographs, six desk lamps, and twenty-two tin boxes

Boltanski’s photographic installations are some of his most well known work, drawing on personal and public archives, he obscures everyday life and childhood memories, twisting the truth with fiction. Much of Boltanski’s work refers to the Holocaust, or themes of loss and death producing haunting installations, the audience can both draw on personally and collectively.

My curation research, coupled with my historic background led me to start thinking about game boxes and tables that populated the seventeenth and later centuries. Running with this idea I had some fun mocking up some ideas using my own jewellery collection, my first early childhood jewellery box and contents as well as some small side tables. Laying the nine components out on the table was particularly interesting, a little bit like the Operation game, if the components got to close the magnetic pull with quickly snap them together. These arrangements open up exciting possibilities of embedding magnets inside the table or surface, which would locate the components more securely.

This little experiment along with looking at the work of Christian Boltanski’s work, has left me wondering how do I start twisting my own stories? And how can I inject power into my imagery which resonates with my audience?

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