The cube

I find the cube to be a powerful symbol associated with geometric minimalism. I'm particularly drawn to its simplicity and clean lines, allowing me to strip away unnecessary elements and concentrate solely on the fundamental aspects of visual expression.

The cube serves as a canvas for experimenting with different viewpoints, creating illusions of depth, and challenging perceptions of space and volume. It's a tool I use metaphorically to represent the constructed nature of reality or as a symbol of balance and harmony.

I often incorporate the cube in my work in some degree as a tribute to renowned artworks that have utilised it, such as the works created by Piet Mondrian, Sol LeWitt, or Donald Judd, acknowledging their impact on contemporary art.

From a cultural and social perspective, I employ the cube to reflect on societal constructs or systems. It symbolises the confines or limitations imposed by society and represents conformity, exploring themes of uniformity, structure, and the restrictions placed on individuals.

Furthermore, I use the concept of ‘inside the cube’ as a thematic element or metaphor in my works to explore the idea of confinement, boundaries, or limitations. It symbolises societal constraints, personal restrictions, or psychological barriers. The cube, to me, represents a confined space or a metaphorical box that individuals or ideas are trapped within.

By incorporating the concept of ‘inside the cube,’ I aim to challenge viewers to question their understanding of space, dimension, and the boundaries of our physical and mental realms. The cube is used to create optical illusions or provoke thoughts about what lies inside and outside the perceived boundaries.

Interestingly, using 'inside the cube' serves as a metaphor for thinking outside the box. It represents the constraints that creativity and innovation often need to break free from. I utilise this paradox to challenge viewers to transcend limitations and explore new, unconventional perspectives.

Image: Drawings ideas for the Summer Show

Cutting the metal bars and trialling the cube in the metal workshop

While making the cubes, I employed recycled metal frames sourced from my prior artwork, Constricted Freedom, which was showcased at the Bargehouse Gallery in April 2023. Repurposing these frames became a crucial element in this new creation. To aid in arranging the final set of five cubes for exhibition, I used paper cubes as a visual aid, enabling me to plan and establish their best arrangement. Furthermore, these paper cubes functioned as a practical tool for counting and ensuring accurate positioning of the clamps required for assembly.

Plaster moulding, utilising materials such as Plaster of Paris, is a cost-effective and straightforward technique for creating moulds.

The process typically begins by constructing a containment box or frame around the original object. This box contains the liquid plaster and acts as a mould for the desired shape.

Once the containment box is prepared, the liquid plaster is carefully poured over the object within the frame. As the plaster begins to set, it captures the details and contours of the original object.

After allowing the plaster to fully set and cure, the mould is opened, and the original object is removed. This process leaves behind a negative impression of the object within the hardened plaster, creating a mould that can be used to replicate the original shape.



Plaster moulds are suitable for certain applications where a higher level of detail is not essential. However, they are widely used due to their cost-effectiveness, ease of use, and relatively quick setting time.

Image: Creating a plaster replica of Coca-Cola, glazed in yellow and blue

For my recreated Coca-Cola bottles, I deliberately chose to employ yellow and blue coloured glazes. This deliberate choice diverges significantly from the conventional red typically associated with these iconic bottles. The intention behind my decision was to present a fresh and innovative perspective, challenging the traditional perception of the universally recognised Coca-Cola bottle.

The vibrant infusion of yellow and blue hues onto these bottles serves as a deliberate contrast to the iconic red, aiming to provoke a reevaluation of our preconceived notions. By diverging from the established colour scheme, I sought to prompt viewers to reconsider and reimagine the familiar Coca-Cola bottle through a new lens.

This divergence from the expected colour palette was a conscious effort to spark a shift in perception. I aimed to offer an alternative viewpoint, evoking a sense of curiosity and inviting onlookers to engage in a different, perhaps unexpected, visual experience with the ubiquitous Coca-Cola bottle. The use of these distinct colours was not merely a surface-level alteration but an intentional effort to challenge the entrenched visual associations of this well-known object, thereby opening doors to fresh interpretations and perspectives.

Images: Making ceramic objects

3D Printing - Digital Fabrication Workshop



Images: Selection of 3D printed objects

Images: Stages of 3D printing - scanning, printing, final objects



3D printing in the Digital Fabrication workshop



The integration of 3D printing technology in art has revolutionised the creative process, enabling artists to explore new dimensions of expression and innovation. This cutting-edge technique involves the additive manufacturing process, where digital designs are translated into physical objects by depositing successive layers of material, typically plastic, resin, metal, or composite materials.

3D printing offers artists unprecedented freedom to materialise intricate and complex designs that might be challenging or impossible to achieve through traditional methods. Artists can experiment with various forms, textures, and structures that push the boundaries of conventional artistry. This technology allows for the manifestation of sculptural forms, intricate patterns, and even functional art pieces that can serve practical purposes.

Beyond traditional artistic materials, 3D printing allows for the exploration and combination of diverse materials, opening avenues for experimentation. A wide range of materials—such as plastics, resins, metal composites, and even organic or bio-based materials— can be used to achieve diverse textures and finishes.

While 3D printing offers remarkable opportunities, there are ethical considerations, such as issues regarding intellectual property, as digital files can be easily replicated and distributed. Additionally, there may be concerns about the environmental impact of the materials used and waste generated in the 3D printing process.

I feel that this technology empowers artists to explore new dimensions, experiment with materials, and collaborate across disciplines, while also necessitating reflection on ethical considerations and environmental impact. The evolving landscape of 3D printing continues to shape and redefine the artistic landscape, offering endless opportunities for artists to innovate and captivate audiences in novel ways.

Images: I found Wieki Somers' piece Consume or Conserve, created in 2010, particularly inspiring. In discussing her work, Somers highlighted the advanced state of human technology, suggesting that we might soon confront the possibility of eternal life. She posed a poignant question: "What purpose does an eternal life serve if it's merely devoted to perpetuating consumerism, endlessly seeking more and more products without regard for the repercussions?" Warning against an unquestioned pursuit of innovation, she cautioned that following this path might lead to a future where we inadvertently transform into the very products we relentlessly assemble. Somers took this unsettling concept to its logical endpoint, quite literally crafting products from the remains of what were once cherished human lives.

Image: Nick Ervinck, Egnoaber, 2015, Polyurethane and polyester

Image: Wieki Somers, Consume or Conserve, 2010. 3D printed human remains

Image: Measuring the space at the Camberwell Space, my allocated space for the Summer Show.

Image: Completed risk assessment form for the Summer Show.

I was given a larger space than anticipated at the Camberwell space for the Summer Show. Following discussions with both my tutor Sarah and Matthew, I made the decision to expand my installation. In addition to showcasing the cube cluster, I will exhibit my printmaking works and ceramic objects. Furthermore, I've incorporated three additional metal cubes into my display.

Images: Drawings for the Summer Show at Camberwell Space

I explored the notion of incorporating a wall-mounted cube, drawing inspiration from the artistic style of Sarah Sze (see Contexts). This envisioned cube integrates various elements and objects in a manner reminiscent of Sze's intricate and dynamic installations, aiming to create a visually engaging and multifaceted artistic arrangement. The drawings reflect the experimentation with spatial relationships, balance, and the integration of diverse components within the envisioned cube structure.

Images: Testing the placement of the object among and around the cube objects.

Images: Objects reconstructed using plaster and a trial cellophane background.

Images: Exploring the use of cellophane for a background.

Contemplating the display, I chose vibrant and surprising colourful cellophane due to its unique qualities. During experimentation with the wall placement of the prints, I observed that the cellophane adhered to the wall due to static. Consequently, I decided to use the cellophane solely as a base for my monotype and relief prints.

Images: Four potential backgrounds for displaying my monotype and relief prints.

Various ideas were considered for presenting the printmaking pieces at the Summer Show. I initially intended to display clusters featuring a range of printmaking techniques, including monotype prints and relief prints.

Image: All That Is Contained, 2023, Mixed media (print detail)

The prints on the cellophane background have been reorganised into individual pieces, no longer clustered together in their final arrangements. This is because the cluster contained an overwhelming amount of information, while individual pieces proved to be more impactful on their own.

Images: All That Is Contained, 2023, Mixed media (detail) - ceramic objects, prints, box of found objects

The box of stories

These cubes are made from everyday objects, remade objects, and found items, each carrying its own tale. These objects, plucked from the mundane of daily life, are transformed into artworks that whisper stories of their own. They are imbued with the essence of their past use, reconfigured into a new existence within the framework of these cubes.

These artworks not only redefine the conventional understanding of everyday objects but also bestow upon them an elevated status within the realm of artistic expression. The transformation of these banal items into components of a larger artistic narrative speaks to the innovation and creativity inherent in contemporary art.

The significance of these assemblages lies in their ability to provoke thought and evoke emotions. Each piece incorporated into these cubes is a fragment of a larger societal or personal narrative, inviting viewers to ponder the stories behind these objects and the connections they might have to our lived experiences. In the reimagining and reconfiguration of these objects, I aim to breathe new life into the mundane and offer a unique perspective on the relationship between objects, memories, and the human experience.



Printmaking

Images: From the original image to the laser cut plywood - original image, negative and positive images, measurements for the laser cut program, laser cutting process, final positive and negative plywoods

Images: Relief printing the laser cut plywood

Images: A relief print created from an image of a past work of everyday objects.

Images: All That Is Contained, 2023, (detail) - prints on cellophane. First two images are monotype prints and the last two are relief prints.

Image: All That Is Contained, 2023, Mixed media - Exhibition view

Summer Show Crit - featuring insights from Leah Capaldi, Yu-Chen Wang and my sculpture colleagues

The Summer Show presented a multifaceted exploration of themes like constriction, hauntology, and the interplay between past and present. The display exuded a sense of playful engagement and is naturally integrated onto the wall, extending further into the living sculpture. The show hinted at audience interaction with objects, paving the way for potential workshops. The diverse elements—scaffolding, printing, containers, ceramics—create a complex yet interconnected environment, resembling a playful playground where object participation is central. The narrative of these stories extends beyond the structure and constraints, challenging the relationship between 2D prints and boxed items.

While the objects maintained a domestic and limited scale, there was a suggestion that larger-scale prints could intensify the immersive experience and connectivity between print and sculpture. The layout, encompassing floor, wall, and structure, invoked a sense of childhood wonder, emphasising tactile engagement. Amidst this, there's an undercurrent exploring darker themes of consumerism, value hierarchies, and our relationship with objects.

The inclusion of cellophane, questioned why we keep certain things, aligns with references like the Noguchi exhibition at Barbican and Paul Neagu's work, particularly emphasising the miniature houses within a room. The suggestion to conduct experiments involving audience interaction with objects through handling and video recording prompts considerations on the intentions behind these actions.

Emphasising differences and sentimental values attached to objects, the show also reflected the artist's personal relationship with her creations. The act of repetition, cataloguing, archiving, and categorising objects underscores the thematic exploration of constraint and limitation. Moreover, the consideration of incorporating a metal frame, in contrast to the predominant use of readymades, remains a point of contemplation, drawing parallels to Francis Bacon's concept of the cage.

In conclusion, the Summer Show has inspired me to focus on two key areas moving forward: the potential for interactive workshops, encouraging audience engagement with my artwork, and the development of my printmaking practice. My plan involves showcasing not only my small remade objects but also creating enlarged prints of these same objects to deliver a more substantial impact.

Synchronised, Wilson Road, Groups Show, 3 - 8 July 2023



Inside everyday, 2023, Bronze, cellophane, metal, 150 x 100 x 90cm (exhibition view)

Making Inside Everyday

In the metal workshop, supervised by our technician Daniel, I welded together an unconventional frame constructed entirely from recycled metal rods. This frame intentionally breaks away from the traditional cubic form, embracing asymmetric and irregular sides. Inspired by the works of Ai Weiwei, known for his bold use of materials and social commentary, this structure aims to challenge the conventional shapes, inviting viewers to ponder its significance.

Following in the footsteps of artists like Mona Hatoum, Sara Sze, and Mike Nelson, this framework encases three striking bronze objects that transcend the ordinary. Each piece, meticulously crafted, represents the mundane artefacts of our consumer-driven society. A plastic supermarket tray, a Pepsi can, and a Coca-Cola bottle, carefully rendered in bronze, stand as symbolic embodiments of our daily encounters with mass-produced objects.

Drawing from Ai Weiwei's socio-political statements and critiques on consumer culture, this assembly of objects within the frame serves as a profound reflection on the implications of consumerism in our lives. The juxtaposition of these familiar yet transformed items within the unconventional structure aims to challenge viewers to reconsider the impact of mass consumer culture on our society and the environment.

Similar to Mona Hatoum's subversive and thought-provoking installations, this work seeks to evoke a visceral response, urging observers to confront their relationship with everyday objects and the broader implications of material consumption. Sara Sze's meticulous assemblages also inspire the intricacy and detail of the bronze objects, while Mike Nelson's spatial interventions serve as a reference, challenging the viewer's understanding of the conventional and the unconventional within the given space.

The intention behind this work is not merely aesthetic; it's a deep exploration of the human relationship with objects and the narratives they carry. Through the amalgamation of discarded materials, intentional design, and the transformation of ordinary items into bronze, this work seeks to spark contemplation on our consumerist behaviours, encouraging introspection and critical examination of our society's reliance on disposable objects.

Image: Inside Everyday sculpture wrapped with accompanying instructions, all set for delivery to Wilson Road.

Image: Inside everyday, 2023, Bronze, cellophane, metal (details)

Cellophane

Utilising colourful cellophane within contemporary art provides artists with a versatile and visually captivating medium to explore a variety of artistic forms. Cellophane, a delicate and transparent film crafted from regenerated cellulose, boasts a broad spectrum of vibrant colours. My artistic approach involves employing this material in diverse ways, exploring the interplay of light, colour, and space in my works.

The translucent nature of cellophane allows for experimentation with light and transparency. Through layering different hues or manipulating the material's folds, I create intricate effects that modify how light moves through and engages with the artwork.

In my most recent works, I have harnessed cellophane as a metaphor, symbolising themes such as transparency, fragility, or impermanence. This application aims to infuse conceptual depth into my artistic practice.

In the future, I intent to use draped or suspended sheets of cellophane to delineate spaces, crafting immersive environments that immerse viewers in a symphony of coloured light and shifting shadows.

Making the bronze objects

Bronze holds a higher status as a material compared to both plastic and aluminium cans due to several significant reasons. Firstly, bronze boasts exceptional durability and longevity, capable of enduring the trials of time while remaining resilient against corrosion and the effects of weathering. Secondly, it possesses a unique aesthetic allure and carries substantial cultural significance as a traditional material deeply rooted in centuries of artistic history. Thirdly, the process of crafting bronze sculptures demands a high degree of skill and craftsmanship, enhancing its perceived value. Moreover, bronze artworks are typically either one-of-a-kind or produced in limited editions, further contributing to their perceived value. Lastly, bronze is widely recognised as a sound investment, with the potential to appreciate in value over time. The culmination of these factors solidifies bronze value in the art world compared to plastic.

I utilised the lost wax casting technique in bronze to bestow value and significance upon seemingly mundane items, such as a Pepsi can, a Coca-Cola bottle, and a plastic food tray.

Images: Bronze moulds prior to the polishing process.

Convergence, A - B Gallery, 19 - 21 October 2023

Making of Blank Canvas

Blank Canvas, 2023, Mixed media

Images: Blank Canvas, 2023, Mixed media (details)

Images: Making duplicates of a mug, phone, and Coca-Cola bottle using plaster.

Images: The process of remaking Objects from porcelain and plaster

Making replicas of the items that held significance during my formative years involves using a combination of plaster and porcelain. The deliberate choice of porcelain stems from its widely acknowledged higher perceived quality, adding an essence of significance to the replicas. This meticulous process of reimagining these cherished objects in a new medium is not just about replicating their physical forms but encapsulating the emotional and sentimental value they hold.

The transition from the original objects to porcelain replicas serves as a transformative journey, transcending mere materiality. Each item, immortalised in porcelain, captures not only its tangible features but also the intangible nostalgia and emotional imprints of my past. The delicacy and sophistication of porcelain provide an elevated sense of reverence and tribute to these treasured mementos, enhancing their significance and symbolic representation.

Employing plaster and porcelain to recreate these objects serves as a poignant symbol of memories and emotions. It transcends a mere replication; rather, it represents a heartfelt process to safeguard and pay homage to the essence of these items that significantly impacted my formative experiences. Each porcelain replica stands as a testament to the lasting significance of these objects in my life, emphasising their importance by showcasing them in a medium that radiates elegance and reverence.