Plaster.
Plaster is a fascinating liquid that freezes over time. Like resin, it is a chemical reaction which solidifies it. The idea of its juicy depth and molding possibilities lead me to impulsive turbulent 'paintings' which are solid in material and are able to stand alone - no canvas or hanging support needed. The painting is a recorded embodiment of its materials reacting to each other. When standing upright the block of plaster is monumental, like a slice of earthly Rhydolite.
These experiments have taught me so much about density, fluidity, control and composition which feeds my ceramic practice. The paints begin as bright colours but as they dissipate within the mixture they meld into new colours or, depending upon the material, retain hard edges and bloom in tributaries of veins. Unrepeatable, these pieces are the beginning of a new realm of making 'Whole' paintings.
Recently, considering the crystal shape of Gypsum (plaster), explorations into salt-crystal shapes have begun. This flows into considerations of materials and their charge, experiments into electrifying the paint (water based) are a new train of thought to explore. This is to alter the control I have over the interaction of the pigments. Experiments have shown that the electric charge of 6V repels the pigment from the surface entirely (for a fraction of a second), forcing the material to travel over the surface to a new location from drop point. As such, this crosses over into the 'surface tension' exploration described on the Photography page.
These experiments have taught me so much about density, fluidity, control and composition which feeds my ceramic practice. The paints begin as bright colours but as they dissipate within the mixture they meld into new colours or, depending upon the material, retain hard edges and bloom in tributaries of veins. Unrepeatable, these pieces are the beginning of a new realm of making 'Whole' paintings.
Recently, considering the crystal shape of Gypsum (plaster), explorations into salt-crystal shapes have begun. This flows into considerations of materials and their charge, experiments into electrifying the paint (water based) are a new train of thought to explore. This is to alter the control I have over the interaction of the pigments. Experiments have shown that the electric charge of 6V repels the pigment from the surface entirely (for a fraction of a second), forcing the material to travel over the surface to a new location from drop point. As such, this crosses over into the 'surface tension' exploration described on the Photography page.
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