Set Up and Practice Exhibition

When organizing our group for the practice exhibition, it was quite hard to work out how to choose which pieces would actually feature in the exhibition, as we had a pretty small space and therefore couldn’t include everything.
We managed to include one from each of our collections while keeping all the pieces flowing and connected within the space. I particularly liked how my hand casts fitted into the negative space between each of the larger figurative works.

Once we had worked out a good set up for the exhibition, we had a few days to get it properly installed in the space. As I was unfortunately tied up in my subject work, though I did a lot in deciding the set up, I was unavailable to help to set it up in the actual exhibition. Adrian did a really good job of setting it up though and it translated pretty well in the space, certainly much better than on the table in studio 5.



Jayde Perkin’s

Jayde Perkin’s colourful, painterly approach is a perfect medium for her illustrative observations and figurative playfulness. She presents an enjoyable take on the everyday in detail-filled compositions.

Her great use of vibrant shades and contrasting pastels, give an expressiveness to her painted illustrations. The use of colour creates a narrative that leads them an emotional feel and adds a sense of play to these scenes taken from the everyday.

Drawings and Figures

Once we had put together our drawings of the figures and limbs that we build out of the various forms of clay, we then looked at how they could interact and relate in a presentation or exhibition; we did this as a warm up and build up to putting together our practice exhibition in our groups.

Playing with the relationships between the different pieces and how the 2D to 3D compositions could effect each others meanings; was a really great way of getting a new perspective on my work and of looking at how it represented the figure in different ways. The the way that the arms interacted and changed the perspectives on the other drawings and figures was my favorite thing to look at; the shape and form of the hand and arm casts meant that they where easily integrated into other works and fitted well into the negative spaces around the drawings, as well as mirroring them on top.

(find the simple drawings and get pictures of them with my heads)

Looking at the drawings in perspectives of the heads in-relation to their corresponding drawings made it obvious that the drawings were too stylised to really relate to the figures. So instead of using them, I redrew the heads from similar perspectives with a simpler drawing style, one that was much closer to the looser and more fluid drawings of the hands. these drawings felt much better when in the context of the heads.

Viral Landscapes – Helen Chadwick

These photographs combine panoramic landscapes of Pembrokeshire with ‘sea-paintings’ carried out on this shoreline and images of the artist’s cellular tissue removed from her mouth, ear, blood, cervix and kidney.


Each cell group is combined with a visually appropriate part of the coastline, for example the waves evoke ear bones in one. These works are a complex metaphor for change and evolution, the individual and nature, the virus and its host prompted by the heightened AIDS awareness of the late 1980s.

Plaster Workshop

As part of our field, we looked at figures cast in plaster, either to produce a mold or as a piece within itself. The part of the figure, or human form that  I chose to cast was a hand. We were given the choice of either sewing our limbs out of a materiel like canvas, that would easily contain the plaster without any major leaking, or to simply bring in something that would be equally as plaster tight; e.i, I brought in a rubber glove. In hindsight, had I more time between field and subject, I might have preferred to of had a go at sewing myself something to cast, but unfortunately time was not on my side and the rubber glove would have to do.
In the workshop, we were put into small groups of two, or in my case three, and shown the correct ratios of plaster to water and also given safety instructions on how to deal with the hazards of working with the plaster in it’s fine power form (which can be very dangerous if it is breathed in); wearing masks and using the extractor fan in the plaster studio space. The plaster then needed mixing and sifting through to make sure that there were no umps or excess air trapped in the mix, as this would cause weaknesses in the structure of the cast and possible breaks further along in the process. Having never worked much with plaster before, I was completely unaware if the health risks and, as I love the idea of creating molds and casts for future 3D illustration pieces, am glad that I’ve now gotten a much grater knowledge of how to mix and deal with my plaster.
The plaster, once poured into the mold took a little over 15 minutes to be completely set, so in this time I first quickly arranged it into the position that I wanted it to hold when set, held it there until it could support itself with the aid of a few weights, and left it for the remainder of the time to quickly go grab a coffee.

Once it was fully set (I gave it extra time as I was worried about breaking it and also wanted to take it back to my studio where I had better tools to cut off the rubber), I cut off the rubber glove using a scalpel, in order to get it off as smoothly as possible.
Unfortunately, I lost it on the very last finger of my hand and it broke off as I was tgrying to pry off the very last bit of rubber. While this was annoying, I actually quite like how it looks in the final product; the hand itself came out quite well, though the indentations on the inside of the glove are visible, and I feel like the detected finger gives it a sense of movement and adds to the overall final look of the hand. If not for the missing finger, I think my hand would look quite uninteresting like a rubber glove (another reason as to why I’d use a sewn mold next time), but the broken finger and how it can be moved and positioned in relation to the rest of the hand, creates a conversation within the piece that I don’t feel it would have if fully intact.
Overall I am really happy with the out come of my 3D hand plaster cast and would love to take the skills into my illustrative work next term, in order to further explore the ways that it can be applied to create form and figure.