JC week 4: artwork outline/proposal draft for final artwork proposal

NB: journal entry for the Jewellery and Small object module at South bank Griffith university (QCA) to view the full journal click here

NB: this is a draft proposal for the final Jewellery and Small object module at South bank Griffith university ( QCA ), the purpose is to establish ideas for future refinement. Due to illness I was unable to attend the JC class of week 4. This proposal was intended to be presented verbally then refined for week 5.

Project outline

For this project consider the following:
Objects are a record of a point in time.
They reflect our:

• Environment
  
• Society
  
• Relationships
  
• Beliefs
  
• Rituals and traditions
  
• Politics
  
• War and conflict
  
• Careful planning or spontaneity or a combination of both
  
• A need or use
  

An approach to the Project:
When thinking about creating an object or item of jewellery to express your ideas, think about how it could be, for example:
 A statement about you
 A statement about your place in the world
 A statement about your response to environmental or political concerns.


This project can be a way of making sense of the choices we make about the objects that surround us and are integral to our lives, and how contact with, or experience of objects, embodies experiences and relationships.
Some contemporary issues to consider are:
 Cradle to cradle-working within closed ecosystems
 Sustainable practice as opposed to using non-renewable resources
 Recycling
 Up-cycling- the idea that there are no objects of the past, simply things that have been used and altered from the time of making to their present state.


Project expectations for the Semester:
You will need to undertake the following:
 Research the work of contemporary artists in this field;
 Consider what is of interest to you or is important to you;
 Analyse objects around you in your immediate environment ;
 Consider the significance of your material choices;
 Consider the significance of your chosen imagery;
 Think about how the work relates to you, here, now.
 Reflect on what you have discovered in your research and distil your thoughts into the making and completion of a single object or series of works in the form of a small object or jewellery;

 Document all your research and conceptual development in your journal. 

Concept

Title/theme

Belief
Sculptural object: sword , mixed metal hilt, scriptures


Forged and refined over a lifetime, this weapon is unique providing defence and ability to peirce the strongest armour.


What is the project about ?
Objects are a record of a point in time. They reflect our beliefs, rituals and traditions. This object is a statement about my identity, beliefs, rituals and traditions as a pentecostal christian with strong ties to my european(british) heritage.

What do you want to explore/explain to the viewer ?
This artwork is about the nature of spiritual and moral beliefs and their function in everyday life. It is important to note that every christians "sword" is unique to them, its handle is designed to be welded by them and its blade is forged by the scriptures that they hold dear.




How have you experienced it ?
The power of words, in conveying your beliefs to others, shapes the way they see your identity.
For me, being an artist that makes work about the relationship between beliefs, contemporary society and the human condition, my beliefs and heritage have informed the form that my practice and art takes.
You are what you think, say and do. You will be known by your words and your actions.




Why are you making it ? Where the ideas are derived from, I.e previous work as a stepping off point for further investigation; research of artists work etc. The direction of your work or concept outcomes you hope to achieve
How it relates to current practice and the wider cultural context
It is easy to take for granted the effect your words and beliefs have on others and yourself
for me the scriptures/my beliefs act as protection ( for when a temptation crosses my path) and provide a solid grounding when faced with morally. Either in myself or in others, when you identify something in someone else (character flaw) it is either one that you have or have possessed.

As a statement of cultural identity this art object does not speak much about "australian suburban beach culture" that surrounds the kingscliff and tweedcoast/goldcoast area. So what does it say about the place christians and the traditional values and beliefs that they adhere to. It is a reflection of the displacement and sense of disorientation in the contemporary world felt by many christians and at the same time a personal expression of those beliefs.

The meaning of life , the origin of life and the cause, nature and purpose of the universe , human nature ,ethics , devotional and ritual obervance and the moral code governing the conduct of human affairs. These are universal aspects of the human condition and the foundations of religion.

We live in an age of independence , an age where “meaning and truth is created”¹ by the individual , morality is relative , perversions celebrated and personal choice rules .

We live in an age where Religion is seen an oppressive bureaucracy and No religion has the right to pronounce itself right or true. Religion is broadly seen today to be a cause of intolerance and war , faith-based political fanatiscism , backward-thinking attitudes to women or sexuality and having moral contradiction to the ways people want to live their lives.

So why does religion have a place in our society ?

1Richard Rorty

As a form of identity expression I intend to create a european cross hilt sword for this artwork, with a man made hilt, designed to be welded with both hands ( two hander swords are designed for offence and defence with a double edged blade). The form of the handle makes reference to my identification with my european heritage and is decorated with actions of my faith and beliefs (silhouettes). The blade itself will be constructed from key scriptures which form the foundation of my beliefs. The paper blade aludes to the spiritual and non-literal purpose of the sword.
It is real, tangible, and powerful weapon





its important to note that the sword for me carries significance not only as a symbol but also in the role I play in keeping the heritage of the longsword techniques alive through my participation in HEMA ( historic european martial arts )

How are you making it ?

Metal hilt sword, paper blade
metal hilt : talks about the physicallity, that it is something that can be wielded, the hilt is decorated with actions (silhouettes) of faith and belief
paper blade : talks about the spiritual connection, non litteral, its not a weapon for physical battle but one for spiritual battles . The blade is made out of scriptures relating to core beliefs which have importants to me
aethetics: european two handed sword, decorative, pressed metal design, brass (for golden appearance ) or aluminum for silver appearance

techniques: saw cutting, soldering, press cut, annealing and texture embosing ( for the imagery)

How is it displayed ? Is it interactive ?

This sword can be hung on a wall , free stand mounted or lay flat on a table.







Go to scripture, what does it say about it ?
"For the word of God is living and powerful, and sharper than any two-edged sword, piercing even to the division of soul and spirit, and of joints and marrow, and is a discerner of the thoughts and intents of the heart" (Hebrews 4:12).


Another thing to remember is a two-edged sword is considered to be a dangerous weapon because of the two edges. Handled improperly it can cut the wielder just as easily as it can cut someone else. When the Bible is used as a weapon to point out the flaws in another person, the person using it often finds himself convicted by the same word. "You, therefore, who teach another, do you not teach yourself? You who preach that a man should not steal, do you steal? You who say, "Do not commit adultery," do you commit adultery? You who abhor idols, do you rob temples?" (Romans 2:21-22).




RESEARCH
http://lavistachurchofchrist.org/LVanswers/2008/10-22c.html




http://www.thearma.org/essays/2HGS.html#.VcrdDrTvbQk
http://www.sword-buyers-guide.com/sword-terminology.html


swords have been used throughout history to defend people and land, to build nations and to protect kingdomsfrom tyrany, from first century wars against rome to the viking and norman conquest sword and steel have changed the fate of kingdoms, the map of europe and ultimately the timeline of western history.
Their essential role of preserving freedom and honor goes far back into the dim mists of history. The connection between sword and freedom finds its origins in the customs of germanic and celtic tribes, here being armed with a sword is not only a right but also a duty of all free men. The ceremony for giving freedom to a slave required that the former slave be presented with the armourment of a free man. The sword today is as relevant as a symbol as it was in ages past, being found within statues, civic emblems and insignia, ancient and modern.
It is an ancient symbol for words spoken in truth, for purity, justice and the spirit of god. The iconic power of the sword is everywhere within western culture, from literature and popular entertainement and celebrate in modern cinema.

research of other artists: research

Looking at artists that explore transendentalism, such as Bill Viola, Alex Grey and Mark Rothko.
The reason for researching artists such as these is that my interests in creating works of art is in the spiritual "otherness". The spiritual aura and meaning that art can convey. Appon recommendation by the lecturer I have also researched the brisbane artist Dough Kwok

Alex Grey   Source:http://artboom.info/painting/alex-grey-the-art-of-a-visionary.html

Mark Rothko's chapel   Source:http://forums.ssrc.org/ndsp/2014/08/04/rothko-chapel/

Bill Violas Tristan's Assention video still Source: http://hyperallergic.com/114411/bill-violas-moving-void/     

Dough Kwok 4 card players  Source:http://www.dougkwokart.com/portfolio.php

Image research

http://www.aceros-de-hispania.com/battle-ready-sword/202renaissance-twohand-sword.asp?product=time-seller-jk0202 

http://www.fcsurplus.ca/shopping/products/447-Swords-Daggers-Shields-Machettes/467014-Decorative-Medieval-Style-Bastard-Sword/

http://www.2-clicks-swords.com/article/ornamental-swords.html this link covers types of swords

http://www.kaswords.com/knights-templar-medieval-replica-longsword-gold.aspx 

http://www.darkknightarmoury.com/p-9827-gold-templar-longsword.aspx

http://www.arms-n-armor.com/sword187.html

http://swordsite.tumblr.com/post/99126408540/longsword-hema-wma-german-two-hander-oakeshott

JC Week 3 : Annealing, soldering and texturing copper, brass and aluminium : jewellery and small object making

NB: journal entry for the Jewellery and Small object module at South bank Griffith university (QCA) to view the full journal click here

Week 3 : Annealing, soldering and texturing copper, brass and aluminium  :  jewellery and small object making

The following projects resulted in the creation of a ring (copper) using annealing and soldering , brass soldering experiement and three textures into aluminium plate

Annealing is a heat treatment that alters the physical and sometimes chemical properties of a material to increase its ductility and reduce its hardness, making it more workable. It involves heating a material to above its recrystallization temperature, maintaining a suitable temperature, and then cooling. 

1. cutting of the brass and aluminium plate ( note that the ring made is copper at the end, this was due to a mixup in the acid bath, resulting in the brass ring being taken by another student by accident. Lesson learnt was to not leave your metals in the bath too long. The copper ring was one that was left over )  its important to only cut copper, brass and aluminium as steel will damage the blade.

Once cut to the desired lengths the next step is to anneal the metal, this will make it possible to bed the metal easily into shape. Bending metal hardens it . Hardened metal is brittle. Brittle metal snaps.

The idea is to heat the metal until it glows, in a well lit room it is very difficult to see if a metal is glowing. To make it easier to see, paint one side of the metal with flux.

When heat is applied to the flux (ie using a propane torch) it will become transparent once it has reached annealing temperature.

Above is a Fire brick, which will be used as a base when heating up the brass strips, a spark lighter ( gas lighters may explode ) and a propane torch. I found getting the right amount of gas to flame ratio difficult at first, it takes a little experimentation.

Essentially you are heating the metal strips up to annealing temperature ( flux goes clear ) then using tweasers, placing the hot metal strips into a ceramic container that is filled with water for cooling.

The next step is to place  the metal strips into a citric acid bath. Why ? well when annealing metal, oxodisation occurs leaving some interesting paternisation. If you with to reduce/remove it, place it in the citric acid bath. Use the tweasers provided ( they are bigger and easier to handle ) also USE EYE PROTECTION 

Soldering

Sorry for the lack of images for the soldering section.
For the soldering I used silver solder, its stronger, safer and wont damage the metal unlike lead based solder. But it requires a much higher melting temperature than the lead based.

Step 1 : bend the strip of metal that has been Annealed into the desired shape, it does not need to be perfect, the shape will be refined after soldering.

Step 2 : cut pieces of solder into tiny sections, approximately 1mm in length

Step 3 : paint the join that you wish to solder with FLUX and place the solder segments onto the join, for a ring 2 small segments should be sufficient

Step 4: Light the propane torch, apply heat to the FLUX/solder until the solder looses form. Using a titanium tool spread the solder over the join and smooth as desired (this takes practice)

Step 5 : again place the metal into the ceramic container of water to cool then place in the acid bath.

NOTE: that the metal in this process is being annealed as well as soldered, so it is ready for reshaping once taken out of the acid bath

Step 6 : remove the ring from the acid bath, wash off with water and try with paper towel. The ring is now ready for reshaping

Step 7 : Reshaping, the tool used is similar to the tool used for measuring the size of a ring. Put the ring over the tool pushing it all the way to the bottom, by doing this the ring becomes rounded. Using a soft mallet gently tap the ring until it is rounded.

the above ring is the "replacement" ring after reshaping and some polishing. Bit disappointed as it looks like a bit of copper pipe but oh well.

I also used the process of annealing and soldering on an irregular shape

Adding texture to a metal surface

The metal used in these experiments was aluminium. Its a softer metal which makes it easier to work with and easier to get better detail.

Press roller for texturing metal surfaces

These two samples were run through a press, which looks similar to a printing press

Step 1 : register the pattern onto the metal plate ( you cannot use tape to hold them in place as the tape will leave a mark on the metal )

Step 2: setting up the press, place the metal plate you with to emboss, the base plate ( in this case brass) and the material you wish to imprint into the metal into the press. Turn the cranks till they are firm and set the dials located on the top to 0. This is your start point.

Step 3 : now release the press and remove the materials from it

Step 4: re-tighten the press to 0 point, then go a further 1.5 marks to tighten the press fully. Why ? the added pressure will enable the metal to be imprinted

Step 5: run the metal,baseplate and materials through the press. Now your done.

Second technique for imprinting

The second technique is for larger less detailed patterns. The idea is to apply even pressure to the entire metal surface allowing for a higher relief of embossing.

Above , essentially a hydrolic car jack with two metal plates. Try to keep the presure between 1000 and 8000 psi

 

Step 1: setting up the design , The intention is to embose a piece of wire into the metal plate. Using the red card, register the piece of metal and the wire into the center of the plate. Place the red card into the center of the two acrylic panels.

Step 2 : Open the press to be just wide enough to fit the two acrylic panels ( which contain the card, wire and metal ) 

Step 3: Using the jack spanner apply presure to acrylic plates, I used approximately 3000psi of pressure. 

Step 4: release the pressure of the jack using the release valve ( on this jack located at its bottom right hand side ) and remove the acrylic plates

This is the result of the impression of wire into the metal.

JC Week 2: Cutting and riveting copper : jewellery and small object making

Week 2: Cutting and riveting copper : jewellery and small object making

Week 1 homework was to search for an image to use for the week 2 cutting and riveting project

the selected image for this weeks activity depicts a person helping another person up.

Meaning:

the concept being explored here is leadership and teaching. biblically leadership and teaching is about lifing other people up. In todays society there can be the fear brought about in competitive 

environments. Just remember that the best way to learn and improve and maintain a skill is by teaching others. 

And the only time to look down on others is to help them up.

NB: the base of the work only mirrors one of the figures, the one on the ground, this is to allude to the spiritual concerns that I am exploring in this work.

I printed off the image to the desired size before the class. I chose to cut the copper plate ( provided as part of out starter pack ). To transfer the image to the plate I registered the image ( first by placing the copper plate ontop of the image and drawing around the plate to miminise waste ) with a stylus from a mobile phone and copy paper under the image, I traced around the image with enough pressure to create a strong image but not enough to mark the metal or tear the image.

 The next step was to cut the figures out being careful to turn the plate and trying not to apply too much pressure to the saw blade ( as jewellers blades are fragile ). Once cut I used the remainder of the copper from the plate to create a base, so that the figures could free stand. This base then needed to be bent to a 85'(not 90' else the figures would fall forward)  which the figures would be riveted to.

Bending machine used on the base plate

 To rivet the figures the positioning of the rivet holes had to be made with a hammer and nail punch. The first rivet hole was then drilled (DO NOT DRILL BOTH HOLES), the width of the hole needs to be exactly the same width of the wire used in the riveting. The burres created when drilling the holes needed to be removed with a drill bit before riveting. The wire, copper in this case, then needs to be thread into the hole allowing for 1mm to be exposed then the reverse side needs to be cut with 1mm exposed. Gently hammer both sides flattening the end of the wire thus creating the rivet. Once the rivet is firmly in place then drill the second rivet hole and repeat the riveting process.

Once both rivets are in place the bending of the copper needs to be gently tapped to correct any warping caused during the riveting process and fine tuning of the stand.