And then the biggest risk of all, probably the most exciting one, was the blue drip! Hoping to make the plinth and the figurine become more of a sculpture as one rather than two separate pieces I’ve continued the dripping process onto the plinth. Dunking the object into the paint at first, then pouring paint directly onto the object from above it flows onto the plinth and creates this beautiful fold upon the figurine. The paint is allowed to pour freely which creates a pool on the floor. This was extremely successful! People walking past were mesmerised by the process- I only hope tomorrow the paint hasn’t cracked as it’s dried!
Choosing to place two figurines side by side on the plinth is a big risk for the work, I hope it will talk about the language of mass production these figurines speak. The plinth holds both the original and a plaster cast of the figurine. Cleverly I’ve also positioned the figurines so that at certain angles you can only see one of the figurines! This was a real exciting surprise for the work. The figurine in place compliments the colours used on the boarder too.
The really exciting part was placing the figurines. At first I did feel a bit disappointed, I’d grown to like the plinths on their own, but I soon realised the potential of the figurines and remembered their role in the work as a “language of objects.” I continued to move the figurines around, sticking mostly to the plan; I placed the magnolia figure in its place, surprisingly adding an extra magnolia figure which wasn’t my original intention. I chose to face this in the opposite direction to encourage the viewer to walk around the work and inspect it. It’s at this point I also swapped the pink and blue plinth- I remembered that I had two matching figurines that I intended to face one another, encouraging a link in the collection as a whole. The cast figurines also needed to be separated which was why the pink plinth needed separating from its neighbours. I chose not to centre all of the figurines playing around with the idea of an art object rather than a museum display. I’m also pleased to see that my measurements added up and the figurine heights measure up to the heights of their corresponding plinths.
There was one really terrible adjustment to the plinths that didn’t quite go to plan. I’m really disappointed that this didn’t work out. I had hoped to attach both a dado and skirting board to two of the plinths- hoping to reinforce the notion that these plinths mimic architectural walls. Beginning this process I decided I didn’t like the skirting at the bottom of the plinth. It seemed stupid to place skirting at the bottom with the lid still in place- the lid formed a kind of ceiling which didn’t reflect well towards the other plinths- why would these figurines then be on the ceiling? I intended to go ahead with the dado- I worked really hard hand sawing the angle to make the correct alignment but when attaching the rail the angle at which the wood and the wallpaper were at wasn’t balanced so the dado rail didn’t perfectly align. Although I really enjoyed the aesthetic of the finish, the miss-matched join would have ruined the finish of the whole piece. I also became uneasy that if only the yellow one was to have the rail it would look out of place. I made the executive decision to abandon the dado rail.
Next up was to finish the details of the resin cast, refining the edges to make a smooth finish; using a jewellery saw to chip away at the rough edges. The professional standard of this cast is fantastic. I’ve had some excellent comments already, some people say it looks as though they could eat it, other saying it looks like glass. It’s a really spectacular cast. I hope it will entice the viewer to get closer to object and inspect every detail as they wonder how I made it and how I achieved the colour pigment.
It was a really exciting day today, getting the plinths all ready and aligning them in their correct position, starting with the original plan at first,then slowly adjusting it to fit with the space. The magnolia pair needed to move to create a larger walk way, then the blue and pink ones needed to be adjusted and separated further. I played around a lot nudging the plinths to different angles- creating a new outlook with each movement. I moved around the space considering each perspective of the viewer. Considering the heights of each and ensuring that no plinth was blocking another. The pairing of the plinths was really successful! They played out a narrative reflecting the story back to one another. A huge success was also the space surrounding the plinths- it really feels like the viewer is able to move freely inspecting every element of the work- like Matthew Darbyshire’s piece- the viewer can weave in and out of the plinths!
I have to say I am extremely proud of these beauties! All the hard work put into the mould making has paid off! Using a clear resin, I’ve poured this into my mould then added two different pigments to each cast- opting for a brighter look the second time round. Adding the pigment at the end of the pour I then drip the colour into the mould from a height. The height at which I pour determines the depth which the colour can reach. The way the colour almost just stops at her skirt I think is just beautiful.