Shape of Things

Week Four:


We created a movable plastic sculpture using plastic bags and balloons. we attached the plastic bags to a big screen and put the balloons inside. We then fanned the screen from underneath to raise the plastic and make the balloons move around inside. This helped us to explore fluidity of a shape and all the elements in which we could interact with it. I found that the sound of the plastic rustling created an immersive experience, even more so when paired with lying underneath the screen and watching the balloons move. I didn’t expect it to be as tranquil as it turned out to be.

We then waited till it was dark and turned the sculpture on and projected images on to it. This wan’t quite as successful as we thought and it looked quite alien and different from how we expected it to turn out. I thought it would be much more noisy and overwhelming than it was.


Shape of Things

Week Three:

plaster casting:

I made some bowl like shapes with the help of balloons which I found to have a nice flow and shape to them. I also made some more squiggly shapes using the inside of balloons which I found gave a good physical meaning to quiver. I then tried casting in sand, I created a shape using a paintbrush and then cast into it. I found the result successful and interesting and made me think of tangible ways to create my ideas in a physical sense.

Brief E-Portfolio Reflection

To identify different contexts that had influenced some of our lecturers’ creative practices I decided to look at the presentations from William Bardebes, Ben Jarret and Emma Smith. Between the three of them they cover a wide breadth of practice and this will highlight different influential contexts well. For William one of his early contexts of influence came from a continuous encounter with the back page of comic books. These comics would have ads in the back and from them William learnt of the sorts of different text and compositions. He found these much more fascinating than the comics themselves and these gave him his starting influence toward graphic design.

Ben Jarret’s contexts that frame his practice were developed through the early stages of his life and into his teenage years. One of his first influences was a familial context through his fathers’ music magazine Hotlicks in the 70’s, from this he had creative motivation and influence from his parents and an intensive supply of graphic design tools. Ben’s later context came from an epiphany moment after meeting a car designer and realising he couldn’t become one the way he had imagined. After this epiphany, he began wagging school and discovered a love for audio equipment, stemming also from his familial context. This helps frame the work he does today designing audio equipment and making products.

I suspect that my creative DNA is influenced by three things I can identify. The first is the place I grew up in, the second and third are people who have been tied to my home and a place like home in Onehunga. I have been raised in Swanson, West Auckland since I was five. I grew up around nature and wild beaches. This has given me a deep appreciation for nature that manifests itself creatively through me being interested in organic forms and neutral colours that mirror nature. The second aspect is my parents. My Mum and Dad have always both been creative, Dad was more prone to drawing and sculpting while my Mum preferred writing. Growing up I remember being ecstatic each night when they would offer to read me one of their many fairy tales they made up together. I can’t remember the details of the stories clearly anymore but I do remember the feeling I had of sitting there with them and listening to their voices echo up and down as I visualised what they were telling me. They lead and encouraged me to always be imagining and this lead to a love of fiction as I was growing up. I also watched my dad draw and create and it inspired me to want to be able to do it myself. He took me to endless exhibitions and they were always rotating around art. These impressions from my parents helped me shape who I am as a person and as a creative. The third and impactful influence came when I was a little older in the form of my parents’ close family friend, Al. He was another Grandfather to me as He had known me since before I was born. Al was an artist and His paintings surrounded their living space in these beautiful gilded frames. He was also a sailor and painted nearly exclusively ships, seas and landscapes of where he had been in New Zealand. When I was about eleven and started to have an interest in art and how amazing his paintings were, he began to tell me about them. Al’s studio was the first artist studio I ever saw and it was a huge turning point for me which helps cement what I wanted to do. It made me realise that I wanted to have a life inside the creative industry. I found it nearly magical and was in awe of the skill set he had.

C&D Prototyping


The verb I was given for this four week brief was ‘quiver.’ I started by thinking of how the word felt and looked to me. I was thinking of something quite soft and fragile the shakes in response to something else. For my tactile works I worked mostly with Indian Ink, Fine Liner and Acrylic paint. I started my research into what a visual quiver could look like and found a lot of inspiration in ways I could use my mediums to create that effect. Stacey Rees was one of my main inspirations. I found her work looked exactly how I would imagine a ‘quiver’, I used that inspiration to then translate that into my interpretation.

In week two I struggled a lot with completing the digital works. I find working on a digital platform much more difficult than a tactile platform. I had my work printed on a mix of textured 200 gsm paper, smooth and glossy 200 gsm paper and a few of my works on translucent paper. I found that  the translucent paper and the smooth finish were the most successful. In this week I looked at a lot of minimalist design and quite abstract design. I feel as though this helped me to move away from thinking in a tactile sense and into what I interpreted as a more digital sense of working.

In week three I was unsure how to translate my verb into a 3D form. I decided after looking at some artists including Henry Moore and Barbara Hepworth that plaster forms that were quite fluid would best describe my verb. I wanted to create flowing forms that were smooth to the touch and changed depending on how you combined them. I found my research to be extremely helpful to the methods I used to create my work and the end forms that I produced.

In week four I worked mostly by using my previous work as my inspiration. I found working digitally was much more successful when I was combining it with my tactile work. I used pinterest to help give me some visual inspiration and more motivation as to how to keep creating new iterations. I looked back on my research that had influenced previous weeks and tried to find some work that mirrored how I would be combining my own work.


C&D Prototyping Week 3

3D Work.

Here are my thirty final photos of my 3D creations as well as some progress shots.