Saturday 18th August, 2018
A systematic operation focused on the evolvement of form, space and environment
Primary Scientific Time Data (PSTD) #3
Cotton polyester, Cotton mesh, Polyurethane silicone, Linseed oil, Tanking slurry, Plaster, Mortar plasticiser, Concentrated sugar soap, Beeswax, PVA admix adhesive, Varnish, Gloss, Emulsion paint, Matt paint, Acrylic, Gloss paint
A brief overview into connected themes and the structural concepts for this work
Experimentation – stood for the stage of processing when performing a scientific procedure, similar to a scientist in a laboratory, when trying to determine something. In relation to Primary Scientific Time Data #1, #2 and #3 the processes and techniques infused are very similar, as the construction of the works took place in the studio, and in outside environments. These places acted like a laboratory where much risk taking took place. Although the techniques and methods I used are familiar, new materials elements and surfaces were introduced, meaning different possibilities were informed. The mixing, dunking and pouring techniques and processes were the main event in this work, as it was less about the finished article and more to do with the progressive nature of how the work evolved.
Time spontaneity – represented a spontaneous process in a system of time-evolution, an act of releasing free energy which moved to a lower, more thermodynamically stable energy state. I was interested in constructing cases which included isolated systems, where no energy is exchanged with the surroundings, as spontaneous processes are characterized by an increase in entropy. All previous works in this operation have been built around a structural regiment system. This work strips away at the conformed and becomes less obedient. Although a time record sheet was introduced, it did not figure as a critical component in the exercise, as it just acted as a record of interest and a concern for disabling, disconnecting and deconstructing time.
A Rebellious action – suggested the opposition of me in authority, against an unsuccessful defiance of resistance. In terms of processing this work, the configuration aimed to display a dismantling and deconstructing of material, element and surface. I achieved this by breaking up, deconstructing and causing conflict, within a mode of activating through applying and removing. I also saw this as a way of expressing a certain amount of anarchy into each product.
Improvisation – was included as something that inserted spontaneity into a process of designing and working, where plans could be altered in the hope of stretching my imagination. Sparks between myself and work heightened, as spontaneity led to unforgettable performances. This also symbolized an exaggeration into new possibilities, where the unpredictability started to become more visual. A willingness to challenge, test and understand became more intensive, as a contrasting range of composing materials and elements with opposing surfaces materialized.
Photos which show documentation from a production of layering, mixing, dunking and imprinting information
From Wednesday 01st August to Friday 10th August – This was the time period accounting for the mixing process, and dunking and pouring technique, drying stage and the investigation phase capturing and recording a performance of informing (data information). – Working exercise (Investigating, Capturing and Recording (Informed Data) of the reformed surface – Time cycle (In conjunction with PSTD #1 & #2) Time Structure spontaneous– Monday, Tuesday, Wednesday, Thursday and Friday With a 1 Hour break, again not set and structured.
(Investigating, Capturing and Recording (Informed Data) of the reformed surface after the (Unknown process) had been disconnected – An act of applying and removing was the main objective. A mix, dunk and pour to be included at the end of each working day.
This was achieved in my Farnham studio at UCA.
Time record sheet
Wednesday 01st August – Friday 10th August
The initial materialization of the (Unknown Process) – (The Mixing process, Dunking & Pouring technique) + Imprinting of understood Information = ( Data process Square & Purple Gloss + Bright Yellow gloss) & Documentation (Carried out in UCA Sculpture space = Final Degree show space – Farnham, Surrey)
• Wednesday 01st August – 09:54am – 10:00 am – (Mixing process, Dunking and Pouring – process / technique)
• Wednesday 01st August – Documentation stage Starts at 10:37am and ends at 10:43am
• Thursday 02nd August – Start of exercise at 09:30am – End of exercise at 13:30pm (Data Process Square informed on reformed surface)
• Thursday 02nd August – Documentation stage 1 Starts at 13:37pm and ends at 13:40pm
• Thursday 02nd August – 16:45pm – 17:16 pm – (Mixing process, Dunking and Pouring – process / technique)
• Thursday 02nd August – Documentation stage 2 Starts at 17:20pm and ends at 17:26pm
• Friday 03rd August – Start of exercise at 09:21am – End of exercise at 11:30am (Concave shifts informed on reformed surface)
• Friday 03rd August – Start of exercise at 11:30am – End of exercise at 13:30pm (Projected shifts informed on reformed surface)
• Friday 03rd August – Documentation stage 1 Starts at 13:35pm and ends at 13:39pm
• Friday 03rd August – 16:55pm – 17:19 pm – (Mixing process, Dunking and Pouring – process / technique)
• Friday 03rd August – Documentation stage 2 Starts at 17:21pm and ends at 17:25pm
• Saturday 04th August – (No work achieved) – Studio at UCA closed for the weekend
• Sunday 05th August – (No work achieved) – Studio at UCA closed for the weekend
This extract gives an insight into how methods, processes and techniques were performed and activated
Mixing, Dunking and Pouring (Process, Technique, Stage)
Carried out at the end of each working day, unless stated otherwise.
At the end of the mixing – dunking – pouring process and technique, the surface was left to dry before providing investigated information.
The application stage of providing new information (Data) – Was from Monday to Friday at (Farnham UCA) without using a time constraint (Unless stated otherwise – This referred to any potential interruption, for example when I am on the building site instead of working in the studio, or if I have an engagement I could not avoid.)
Raw Data and Historical Data (Past Time)
Media used during Mixing, Dunking, Pouring process technique
Tanking slurry, Plaster, Mortar plasticiser, concentrated sugar soap, Varnish, Gloss
Matt paint, Emulsion paint, Acrylic, Beeswax, PVA admix adhesive
Media used to Imprint Information
Square process symbol – produced from Matt paint
Stored Data modifying to Raw / Historical Data (Present Time travelling into Past Time)
Media used for amplifying Projected and Concaved shifts
Gloss paint from a tub, applied with a size 3, 6, 10 and 30 brush
Purple Gloss Finish
Bright Yellow Gloss Finish
Photos which displays (PSTD) #3 in a finalised position