Subject lighting 

Over the last few weeks I have continued to manipulate and change my subject object. I was adding more and more copper wire trying to fix that little something that was missing. Martin Lane gave me one of his models which was a prototype of  a wood and card frame with symmetrical waves throughout. It is very similar to my waves metal wall hanging except martinis was much more uniform and equal. In  the mackete Martin had wired copper and LED string lights. These were perfect for my sculpture because of the blue of the steel and the copper wire I’ve already used. The lights were also a warm yellow/white colour which adds a warm tone to the piece. 

However these lights are incredibly fragile from all the moving, twisting and weaving. They unfortunate stopped working but because the LEDs were very subtly and the lights consisted of copper wire it blended very well with the wire I already had woven on the piece. The added wire really adds the amount of copper the piece needed. I was fortunately able to borrow some shorter copper lights from another student and now I feel the piece is finished. 



Workshop outcome 

During college I would always avoid clay, I did not get on the material I couldn’t manipulate the way I wanted. How ever this was hand building at uni I got the opportunity to throw which is very different to hand building. I love the fact that with minimal effort or direction I can produce something beautiful and solid. As long as centring and you don’t push the clay too far I can produce something I’m proud of. I can’t make something large or perfectly centred but I like slight off centre work, I think it represents me as an artist I seem to always make rounded shapes or bowls. Over the next few years I will work towards improving my ceramic skills.

Raku is a fairly dangerous process there’s hot open kiln, smoke chambers, the occasional bit of fire and the most beautiful ceramic products I have seen. The best advice I could give to someone doing ceramic is have no expectations. Depending on the heat you put it at how long you fire it for how long you smoke it for depends on the outcome. Every Tim I have done raku I have got completely different results even though I used the same glazes. I. Also a big fan because of how quick a firing is which only takes 2-3 hours including the reduction process. I am in love with vibrant colours especially metallic copper finish and the white crackle. They have a rustic care free feel to them because the glaze does what it wants I am able to guide and influence the result but I will never know the outcome untill i clean it. 

Process future generation 

The aim of my future generation and Future archaeologists projects are to subtly show what you can do if you were to recycle, reuse plastic bags. I have experimented with procces that with practice or minimal equipment people can easily do at home that creates useful or beautiful objects in their everyday life.

I want to use plastic bags as a medium, however I want create an object that’s at least a t first isn’t noticeable as being plastic bags. I want to create the idea that we can do many thing with plastic that doesn’t make them look like a common object make it something you would want to use or to decorative with. I want to show the diversity of the humble plastic bag. 

I have used many different process like cutting, folding, sewing, knitting, papermaking, storage and stuffing. A common technique is to iron plastic between sheets of grease proof pape. This almost solidify a the flimsy material making it more stable and manigable. BY pure accident I stumbled across another similar technique. I wanted to do the ironing technique but didn’t have an available iron so I decided to use a heat gun. In stead of creating a more solid carrier bag like with the ironing technique is shrunk the plastic in veins and Irregularlplaces(see sketchbook for examples)

The heat gun produces stunning texture. I can tell its some sort of warped material but plastic or bin bags would not be my first guess. This tricked produces these distinctive hole and almost Webb like structure. Thinner plastic produce thinner web and bein like lines. The variety inspired me to creat a textural piece showing a drastic change to the material. In all my research is never came across something else.

I decided I wanted to try and use bags with no print on the make the material even more mysterious. I made a trip to telcos and found plain navy and purple bin linerswhich were perfect, as well as stealing a few recycling liners from halls I had a nice plain but colourful and cohesiveness colour story.

I wanted to use another the unique to see if I could emphasise or highlight some of the texture I though free hand embroidery would be perfect. I found that although the thread adds another dimension to their piece and does highlight the texture the right colour doesn’t distract from the plastics itself. 

As well as the heat gun fabric I wanted to incorporate some techniques from previous experiments like knitting or crotchet. This adds more textures to the piece. KNitting is commonly known by many people and give its a more relatable aspect. Lots of people could archive certain parts if not all of the object. 

To add another dimension to this textural piece I was to back light some areas. The veining really stands out when light up. It makes the texture stronger in some areas and the actually material the focus in the shaded areas.The light also creates two tones of blue plastic both dark navy and a lighter teal. The embroidery also becomes more prominent with the back lighting. I think this lighting creates contrast and dimensions. I like to think of it as another visual texture something for the eyes to focus on and compare. 


In this project I made quite a few products or objects involving plastic. I wanted to show the diversity of the plastic and that they will probably survive the future. If plastic bags don’t degrade in a land fill we should use the properties to aid is in our future. I decided to show my knitted scarf because untill you feel it you wouldn’t guess it was several plastic bags. THis idea sparked my future generations project because it is such a a versatile product with amazing properties and being weatherproof, strong, durable, and recyclable. IM proud of this project because I really think it has potential and that no very many people had seen something like it before.

The plastic bag 

MY future generations project follows on from my archaeologists project. I started looking at the common plastic Baghdad polythene object is the most environmentally friendly option for carrier bags. If we were to use paper bags instead of plastic we would produce more methan gas and use more energy and rescources to produce them. However we currently abuse the plastic bags by throwing them away regularly instead of reusing them or but the stronger bags or bags for life.      Wales was the first country in the uk to apply a carrier bag charge in 2011. IT is estimated that single use carrier bags from 2011 to 2014 in Wales reduced by 71%.

England introduced the same 5p charge in October 2015 hoping to achieve the a similar result as Wales. Over the years we have recognised the need to recycle and reuse our plastic bags.The change has now been nation wide although we can still improve. SOme communities and company’s and taken the issue further and raised even more awareness. 

A small town in Devon called mod bury decided to ban all carrier bags in 2007. For a 6 month trial period all 43 shops refused to steel or give plastic bags resulting in a permeate ban and nation wide movement for the ban of the carrier bag. Since then over 50 small uk towns and city’s have followed Modburys example Andy banned plastic bags from their villages. Although this has raised good awareness for the reduction of carrier bags I don’t think eradicating them completely is ideal seeing as paper would devolution alive our progress we would not have any way of carrying items efficiently and 100% environmentally friendly.

ANother champagne was the “This is not a plastic bag” project. 2007 was a big year for plastic bag awareness, the UK’s leading accessories designer, Anya Hindmarch, created a designer fabric tote bag emphasising the use of recyclable or reusable bags as an alternative for plastic bags. The point was to encourage the bag for life idea of bags but making them trendy,making people want them. The aim was to create a bag that was appealing to everyone not generically mums that do large weekly shops or 80 year old ladies that actually like Aldis bacon or Brussels sprout bags and use them as their handbag.The two shops that sold this stylish product were Saisburys and Whole foods targeting a large target audience across two very large country’s, two country that actually use the most single use carrier bags as well.  “Data from 2007 showed every person in the country was using an average of 167 plastic bags each year, totalling around 10 billion bags and requiring over 420 million tonnes of virgin plastic.

Beautiful useable Making 

My beautiful useable project has developed incredibly far from my original autumnal lamp ideas THGrought out the year I was learning more and more process and discovering more nature based artists ones that worked with light and shadows or movement and perspective.I eventually followed the path of waves. And movement of wate. I feel like my first year and been constantly moving changing and developing never stopping.

MY favourite macketes are the last two pictures. They have more complexity to them involving more weaving and movement. Waves have a stunning form they are constantly moving there’s freedom and fluidity in its shape that Stubbs people so many picture are taken of eater the ocean beaches,The ocean is one of the most beautiful things at least in my opinion.. 

After deciding to go with the copper design I started making a larger version in 1.5ml mild steel.Using the metal guilt teen I cut a 90 by 90 cm square of steel. I then measured 15 70 cm long lines with 5cm between each line. This produced 14 stripes. 

Using the plasma cutter and a steel beam as a ruler or guide I cut along the 70cm lines. This produced a large barcode. 

I then used the roller to curve the whole piece in to a sin shape preparing the sheet for the manipulation of each strip.

Using a variety of sized metal tube I roughly shaped some of the strips into different curves. When this was too subtl for my liking I decided ( with gloves) to hand pull the strips into varying heights curves and kinks. I pulled some forward and some back to create a random yet harmonious composition each wave is different and won’t be symmetrical to others so I played on this and kept manipulating till I was happy. 

The manipulation of the strips made the curve of the whole sheet lose its s shaped but seeing as the centre of the design is the focus a subtle outer curve adds balance and throw focus to the stips.

Plasma cutting produce metal dust and dirt, so before I added anything or carried on with process I needed to clean the metal. I firstly tried using hand soap which sort of worked but it still look grimes. I then found some methylated spirits which cleaned the metal straight away. IT also got rid of the pen marks I used to map out the lines for cutting.

The next step was to polish the metal. Using a electric polish bit I polished a cleaned up the sheet I mainly focuses on the outer boarder because it was. Staying shiny chrome.

In the 3rd year show Bryn Richards has used a process called blue steel on his geometric ,

Blue steel is a process where’s metal is heated to roughly 400-600 degrees c. This temperature scale produces and varying colour gradient from purple to blue to black once dipped in oil and cooled. NOt really thinking it through or having the time to properly test my ideas I decided to try blue steel on my final piece. I actually did the process the wrong way Lund and dint achieve the proper finish but on the plus side I actually like the affect I got. 

Usually for the space and equipment we have at uni blue steel needs to be done on small pieces of steel as I have quite a large sheet for my piece is couldn’t use the conventional way.  I wiped linseed oil over some of the steel strands and heated them up with a the industrial blow torch on the forge. Not know ing I had top reach a specific temperature I just went with it. I then put a damp cloth of some patches with unfortunately stuck due to the intense heat and synthetic material;l. As it takes a few minutes to get hot enough a lot of the oil actually dried leaving oil stains and patterns. Although I dint achieve a blue steel Like BRyns work I really like the pattern I have created, it’s not neat it reacted and developed in its own way. I love materials and process where I don’t fully control the out com. Because I used Oslo the end results seems to look like oil spills AS my them is natural influence a key one being waves it seems fitting. Just like the ocean I’m going with the flow and want the piece to form I don’t want to restrict it.

To add dimension to the sheet I decided to add strands of write, in particular copper wire. Copper and blue is one of my favourite colour combination. I was able to get hold of thin electrical wire, thicker copper wire, copper mesh and navy wire.  The coloured writes cohesively enhance the movement and shape of the metal sheet. 

My first attempt at securing the. Wire was with the fastening from a rivet. It help the wire securely bu the whole rivet wasn’t. Secure in the hole in between because strip. Copper wire cannot be welded so spot welding wasn’t a option. I then tripe to whole punch in between each hole so I could weave the wire but the outer boarder is too large .My last option was to knot and bend the end of the wire in most cases they wire held securely between each steel strip but in some cases I had to just glue the end a little so nothing would ping out.

This project has ended up being an experimentation and development of material and process with a influence from nature .its represents my journey of first year how I developed and how my knowledge and experience of materials and processes have improved and been enhanced. 

THis wall hanging is certainly more beautiful than useable but is useable for either gallery space or home decor. THis piece is incredibly personal not just because of the materials but I find that waves very calming. I hope it can provoke the same feelings in others. 

OBeautiful useable macketes

Ironically this projects app read to have changed with the seasons as well as the knowledge I have learnt within in my first year of university. The beautiful useable project has moved on from autumnal lighting to metallic wave hanging piece keeping in contact with the natural and movement​ themes.





Based on the waves pictures and the mathematic symbol of sin and cos(sign) waves I created these small machetes.  With time and skill on a bigger scale these wallhangings could capture the fluidity of oceanic waves but also the presicion of the symbols.  I have decided to use metal as the base material because although I have tested many medium and process I have relatively high expect ions for my bigger projects I want to use a material process that I feel I have enough skill in to deliver a finished object that portrays my ideas. Metal is my comfort material I feel oddly relaxed and in control when cutting with the plasma cutter or welding . However The ocean is constantly moving its is fluid it’s beautiful but it can be merciless taking countless lives, water is the perfect balance of life and death , health and danger. In my eyes Metal can be stunning its sleek strong its can be manipulated in to beautifulshapes. Yet it can be a rigid structure but embody movement and fluidity in its static form. ON the other hand it can also be horrible to work with, dirty sharp and highly highly dangerous. I think it’s a good representation of my inspiration which is waves…
I prefere the machetes C. And D because the complexity and variety of curves and wire thickness. This makes them a much more appealing visually. The more overlapping wire lines add dimension and depth to the design whilst em body’s waves both the natural and mathematic form. 

My next design was to create more of a symmetrical shape coinciding with the sin symbol with irregular weaving strips representing the uncontrollable a fluid nature of wate. As the original idea was autumnal commercial lighting I wanted to link the new idea to some sort of decoration or object you find in a similar setting. I invigion this piece in a gallery space or as a wall hanging. The main body of the sculpture won’t be in copper but I would like to add a hint of the material. Not only is it my favourite material due to its colouring , uses and properties but it’s warmth reminds me of the Autumn which was the steaks my starting point.