3D
Studio Works
These photographs are an important part of my process in finding a material for my practice that maintains delicacy as well as translucent qualities that can work theatrically with lights. Through my documentation of these forms I have been testing out different lights and the effects they give from within a sculpture. The use of the lighting animates the sculptures and increaces the performative staging of the forms.
Materials: Kitchen roll, teabag paper, balloons, machine stitch, gooseneck LED lamp.
Dimensions: approx. 40x30x50cm
Figure 1. 3D Experiments. RSA, December 2024.
Photo: Helena Gardner.
Figure 2. 3D Experiments. RSA, December 2024.
Photo: Helena Gardner.
Figure 3. 3D Experiments. RSA, December 2024.
Photo: Helena Gardner.
Figure 4. 3D Experiments. RSA, December 2024.
Photo: Helena Gardner.
Figure 5. 3D Experiments. RSA, December 2024.
Photo: Helena Gardner.
Figure 6. 3D Experiments. RSA, December 2024.
Photo: Helena Gardner.
January 2025
Witnessing works by Ruth Asawa in person showed me that delicacy can be achieved with sculptures of dynamic scale and shape. The intricacy yet organic effortless existance of her forms inspired me to discover my own material that could be manipulated more easily than tough withies and achieve more delicacy. I selected thin strips of synthetic boning for it’s flexible properties, using the individual pieces with the same technique as binding the wooden withies resulted in a far more dainty and transparent outcome. Trialling tissue paper around the joints was soon replaced by clingfilm which achieved less cumbersome joints.
Materials: Synthetic boning, tissue paper and UHU glue, clingfilm and glue gun.
Dimensions: approx. 35x16x16cm
Figure 7. Rigeline boning with tissue paper. Stroud, January 2025.
Photo: Helena Gardner
Figure 8. Rigeline boning with glue gun and clingfilm. Stroud, January 2025.
Photo: Helena Gardner.
Figure 9. Ruth Asawa. When Forms Come Alive, Southbank Centre, 02 April 2024, Exhibition.
Photo: Helena Gardner.