Materials + Process

29 April - 9 June 2013

MATERIALS + PROCESS

an exhibition of student-made materials 25 STUDENTS | 63 MATERIALS | 148 SAMPLES | 3 JURORS

An exhibition of student made material samples |

Rhode Island School of Design Material Resource Center

Sponsored by the Academic Commons Program

1 CURATOR | 3 JURORS

Diana Wagner MID Candidate, Industrial Design, RISD

Kelly Dobson

Associate Professor and Department Head, Digital + Media, RISD

Kate Irvin

Curator of Costume and Textiles, RISD Museum

Jane Hutton

Director of the GSD Materials Collection Harvard University

25 STUDENTS

Paul Bird • Industrial Design ‘15 Katie Buchanan • Textiles ‘14 Carmel Dunlap • Textiles ‘14 Abigail Foster • Industrial Design ‘13 Lucy Humphreys • Furniture ‘16 Kristina Kim • Industrial Design ‘13 Avon Kuo • Industrial Design ‘14 Ramie Landis • Furniture ‘16 Jeannie Lee • Jewelry + Metalsmithing ‘13 Kebei Li • Industrial Design ‘14 Matthew Lim • Freshman ‘16 Jacquelyn London • Textiles ‘13 Ryan Mather • Industrial Design ‘15 Margaret Parish • Sculpture ‘14 Kiernan Pazdar • Textiles ‘14 James Reed • Industrial Design & Furniture ‘15 Henry Rolnick • Textiles ‘14 Zach Salinger-Simonson • Furniture ‘15 Mary Yining Shao • Industrial Design ‘14 Marcela Sierzega • Textiles ‘14 Eliza Squibb • Textiles ‘13 Megan Ulrich • Glass ‘14 Marissa Valenza • Sculpture ‘14 Eric Whiting • Textiles ‘14 Susan Williams • Textiles ‘14

SPECIAL THANKS

This exhibition was realized with a grant from the RISD Academic Commons Program and the generous support of Jennifer Liese Director, RISD Writing Center Patricia Phillips Dean of Graduate Studies, RISD Mary Anne Friel Assistant Professor, Textiles Department, RISD Mark Pompelia Visual and Materials Resources Librarian, RISD

SPECIAL THANKS

I would also like to give special thanks to the jury members and all of the students who submitted their material samples to make this exhibition possible, as well as to photographer Mark Johnston and photo editor Karl Wagner.

MATERIALS + PROCESS

an exhibition of student-made materials

Materials + Process | an exhibition of student-made material samples Materials + Process asked RISD undergraduate students: What new materials and composites are you experimenting with? The result is a showcase of 148 material samples—displayed in conversation with the extensive material sample library of RISD’s Material Resource Center—that realize new physical capacities and aesthetic qualities.

The samples are accompanied by the students’ descriptions of their material including: ingredients, making process, possible or intended application, and material innovation.

This exhibition demonstrates that no matter our department or discipline, we share a common method of combining raw and commercial materials, enhancing or changing their function as we explore new ways of applying, appropriating, and experimenting in the studio. Creating and combining new composites redefines a

material’s—and a maker’s—potential. In her Knit Glass, for example, Jacquelyn London illuminates knit yarns by coating and combining them with a translucent medium that suggests the intricate detail, transparency, and radiance of stained glass. Inspired by dragonfly wings, these new materials offer a “subtle disorienting effect and interact beautifully with light.” In his sample, Kebei Li has imagined a new surface texture for a traditional material. Cement features a beautiful undulating wave formation on the surface of cement, which he calls “water ripple geometry.” While this material itself is not a new composite, the process alone creates a form that offers great potential for new applications.

This exhibition has been juried by a panel of material experts: Kelly Dobson, Associate Professor and Department Head, Digital + Media; Kate Irvin, Curator of Costume and Textiles, RISD Museum; and Jane Hutton, Director of the GSD Materials Collection at Harvard University’s Loeb Design Library. They have selected ten material samples with the most potential for product development or art-making. These selections will be honored as the Student-Made Materials: Special Collection at RISD’s Material Resource Center.

Diana Wagner

Curator

TABLE OF CONTENTS

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Special Collection

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Materials + Process | works in the exhibition

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Installation Views

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CALL FOR ENTRIES

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an exhibition of student-made materials

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STUDENT-MADE MATERIALS SPECIAL COLLECTION

RISD Material Resource Center Permanent Collection

A total of 10 student-made material samples were selected by the Materials + Process jury to enter the Material Resource Center’s permanent collection. The jury considered each student’s submission for its innovation, technical capacities and aesthetic qualities. This special collection will be available to all students and visitors to the MRC as a reference for inspiration and a resource for further dialogue on materials and material making at RISD.

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Paul Bird

Industrial Design ‘15 Sturdy Felt INGREDIENTS Roving + Wire Mesh

PROCESS I performed a wet felting technique around a piece of wire mesh. This gives the felt a structure that allows it to be bent and retain its shape.

APPLICATION I used the new felt for a detail on a male shoe I designed during my Wintersession travel abroad course in Italy. I believe it could be applied to anything you might make out of felt if you were seeking this structural feature. I could see it being particularly applicable to apparel garments, bags and accessories.

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INNOVATION Unlike traditional felt my felt will retain its form.

I like the felt because it supports local economies through the purchasing of roving. It is also an approachable technique that anyone could learn and it doesn’t require expensive machines or toxic materials.

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Abigail Foster

Industrial Design ‘13 Natural Fiber Composite Studies INGREDIENTS Tossa Material + Natural Dyes + Clear Gesso + Clay Paper + Plastics Tossa Material = Jute + Hemp + Polypropylene

PROCESS The Tossa Material undergoes a heating process where it is compressed and then cooled by air temperature.

When the material is compressed in a heat press machine, the temperature reaches 350 degrees.

The material is then extracted and painted with a 50/50 combination of natural dye and clear gesso, which creates a green or blue surface coating.

I also applied gesso onto the heated

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composite surface and applied and compressed clay paper, which then was allowed to dry in the compressed state.

INNOVATION Experimentation for product application potential; these material hybrids including Tossa combined with the manufacturing process offer an inspiring possibility for future design solutions.

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Kristina (Su Kyoung) Kim Industrial Design ‘13 HDPE Material Samples INGREDIENTS High Density Polyethylene (HDPE) Recycled Plastic

PROCESS I used different techniques of deconstruction, shredding and stripping the plastic with a hand planer and scissors. After the deconstruction, I used a heat press to melt the plastics together.

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APPLICATION This material was used to create accessories, wastebaskets and large sheets used as wall decoration.

INNOVATION This material offers an opportunity to recycle HDPE plastics that have been salvaged from the landfill.

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Avon Kuo

Industrial Design ‘14 Patina Boot INGREDIENTS Found Objects + Chiffon Knit + Pleather + Polyester + Felt + Maple Wood

PROCESS Layering different materials to explore combinations of wear from age and use.

INNOVATION To inspire possibilities for creating shoes (or any other soft goods) that become more beautiful with age and wear.

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Jacquelyn London Textiles ‘13 Knit Glass

INGREDIENTS Acetate + Knit Synthetic Yarns + Liquitex Pouring Medium + Pigments

PROCESS I mixed the pigment into the pouring medium and then coated the knit piece, laminating it to the acetate backing.

APPLICATION The intended use is as a room divider hung in space. Looking at dragonfly wings first inspired the material. I wanted to create netting that would be stable and could be suspended in a space. As a partition it is transparent with a subtle distorting effect and interacts beautifully with light.

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INNOVATION This material is flexible, transparent and has an interesting design.

It reads like a modern version of a stained glass window. My classmates and I have also discussed its potential for an apparel application. Many people have commented that it would make an innovative material for a bag.

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Margaret Parish

Sculpture ‘14 Steel Brads In Rubber INGREDIENTS Cast Rubber + Steel Brads

PROCESS The rubber was cast in the form of a small potato and the brads were inserted.

APPLICATION This material is simply meant to be handled.

INNOVATION My initial interest in this process was for the most part visual. However, I find the material experience pleasing when handled with eyes closed.

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Margaret Parish Sculpture ‘14 Three Tubers

INGREDIENTS Celery Root + Glass Beads + Brass Pins Unknown Tuber + False Pearl Beads + Steel Dress Pins Yam + Glass Beads + Handmade Brass Pins

PROCESS The beads were pinned into the tubers when fresh and the resulting objects were created when allowed to dry.

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APPLICATION These materials are meant to be handled, but this kind of surface treatment could be applied to a wide variety of processes.

INNOVATION These objects are interesting to me because they defy most people’s conceptions of vegetables as prone to decay. The way in which they have changed since their creation has been fascinating to observe.

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James Reed

Industrial Design & Furniture ‘15 Paint and Burning Studies INGREDIENTS Wood + Water + Paint + Sand Paper + Fire

PROCESS Coordinating timing and layering in applying the paint, I also sanded the material when both wet and dry to get desired texture or finish.

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APPLICATION Modern Distressing: this technique offers new ways of finishing art, furniture, or interiors.

INNOVATION These are studies of finishing techniques rather than a new material.

They show common materials used in different ways on unexpected surfaces.

Each sample is one of a kind.

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Eliza Squibb

Textiles ‘13 Frozen Tensile Structure INGREDIENTS Linen + Wool + Beeswax + Cement

PROCESS Fabrics were knit on the knitting machine and then dipped in beeswax or cement and left to harden.

APPLICATION These samples create a structural and permeable surface that could be used to divide space and form a barrier that is breathable and light.

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INNOVATION Although these fabrics have a solid structure, they could be melted down or crushed, then transported and reformed. They are made from entirely natural materials and could be abandoned to decompose.

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Eliza Squibb

Textiles ‘13 Gilded and Heat Pressed Textiles INGREDIENTS Faux Fur + Knit Silk + Woven Olefin + Saran Wrap + Gold Leaf + Plastic Bag

PROCESS Fabrics were knit on the knitting machine, or woven on a floor loom.

Two fabrics were heated in the heat press to adhere plastic and melt the saran wrap. Two fabrics were printed with textile glue and gilded with gold leaf.

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APPLICATION These samples combine two materials that would not normally be juxtaposed, creating a collage that offsets the properties of each material.

INNOVATION These samples could be used in any decorative setting.

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Marissa Valenza

Sculpture ‘14 “Marbled” Plaster, Verdi INGREDIENTS Tinted Plaster + Dirt Residue + Liquid Casting Rubber

PROCESS I mixed plaster, tinted it green, poured it onto a dirty surface and removed it. I finished it off with a coat of liquid rubber.

APPLICATION I’m not really sure, but I think it is interesting. I suppose you could use it in a variety of ways.

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INNOVATION I think it is an unconventional use of materials and I like how it has the appearance of granite, but is rubbery to the touch.

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Marissa Valenza Sculpture ‘14 Latex “Fabric”

INGREDIENTS Liquid Latex + Amber Shellac + Primer

PROCESS I covered a large Masonite board with amber shellac on the textured side.

I used several layers so that the latex would not permeate the wood board.

I then used a mold release spray so that the latex fabric could be lifted easily from the board. The result of the texture and the shellac caused the latex to have a flesh like appearance.

APPLICATION This material can be made in different thicknesses, for example, paper-thin.

The different thicknesses offer varying levels of opacity and translucence.

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INNOVATION The latex fabric can be sewn together so it could be used for costume design, clothing, sculpture, interior design, etc.

I think the unusual texture and color combination that I have achieved in making this material is what makes it unique to me.

I have “back primed� this material to add to the luminescence, which also brings out the color and texture. It does not necessarily need to be back-primed.

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Eric Whiting Textiles ‘14 Knit Tape

INGREDIENTS Cotton Linen + Woven Tape

PROCESS Machine Knitting.

INNOVATION This material is part of an exploration of the contrast between a woven surface and a knit structure.

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WORKS IN THE EXHIBITION

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RISD Material Resource Center 29 April - 9 June 2013

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Paul Bird

Industrial Design ‘15 Vacuum-Formed Plastic Bags INGREDIENTS Recycled Plastic Bags

PROCESS I put the plastic bags into a heat press to make a sheet plastic and then pulled them through the vacuum former.

APPLICATION I used it to make a lampshade but I could see this material being used for any other application one might need molded plastic for.

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INNOVATION I have seen this kind of sheet plastic before but I’ve never seen it used in a vacuum former.

The upcycling aspect of the material is really what drew me to it but then the interesting forms you could make with it kept me experimenting.

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Katie Buchanan Textiles ‘15 Filleted Fish

INGREDIENTS Latex + Acrylic Paint + Mono Filament + Polypropylene Thread + Merino Wool

PROCESS The different materials are woven into a polypropylene warp, and then covered in latex

APPLICATION This piece was intended for fine art and to be hung against a light source.

Beautiful patterns are created that could be applied to pieces designed for interior spaces.

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INNOVATION The latex was used to create a visual effect of light, space, and flesh. It is typically used to create molds of objects in a solid, three-dimensional structure. My form moves with the space and also interacts with the lighting of a room.

It smells a little bit too!

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Carmel Dunlap

Textiles ‘14 Epiphytes Jungle Light INGREDIENTS Monofilament + Elastic + Super Fine Merino + Mercerized Cotton

PROCESS I used the Stoll industrial knitting machine to create this stretchy, moderately transparent fabric.

APPLICATION It is intended to be a space divider or a wall partition in an interior space. It is malleable, so it could be moved and redefined based on the space.

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INNOVATION This material is malleable and opaque.

There are moments with more transparency, and it has a hand-made quality.

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Carmel Dunlap

Textiles ‘14 Rice Fields Dipped in Copper INGREDIENTS Wool + Synthetic Chenille + Acrylic Yarn + Copper Wire

PROCESS I wove the materials on a floor loom and added copper wire to create structure, form and potentially conduct electricity.

APPLICATION It is intended to be a space divider or a wall partition in an interior space. It is malleable so it could be moved and redefined based on the space.

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INNOVATION This material is malleable and opaque.

There are moments where it is very transparent. It has a hand-made quality with a clean design. You can move it and change the shape, or leave it flat.

It also has the potential to conduct electricity, if properly wired. This is a concept for the end use of the product.

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Lucy Humphreys and Ramie Landis Furniture Design ‘16 Felt Composite INGREDIENTS Felt + Gel Coat + Screws

PROCESS We first experimented with different ways to saturate the felt in order to make it stronger and be able to hold a shape. We settled on using a gel coat and soaked each piece and hung it up until it was completely dry.

APPLICATION We originally created the system to assemble a hammock. The system expands and contracts and is strong enough to hold a persons weight.

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INNOVATION We wanted to create an expandable system using simple materials that wouldn’t traditionally be used together.

Felt generally isn’t strong enough to support weight and screws generally aren’t used on the surface of a hammock but we created a composite material that allowed for both.

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Jeannie Lee

Jewelry + Metalsmithing ‘13 Hot Glue Sheet INGREDIENTS Hot Glue Sticks + Pigment

PROCESS I melted hot glue sticks with a torch over water so the glue would spread out evenly and thin, cooling on the surface of the water.

APPLICATION I invented this material to make jewelry and body pieces, and it can also be used as a fabric to make clothes or other accessories.

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INNOVATION It has its own unique texture, color and quality that are hard to imitate with other materials. It is also a thin sheet that can be used two-dimensionally or constructed to create different forms.

Also, no second adhesive is required and it can be clear, tinted or opaque like the original hot glue.

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Kebei Li

Industrial Design ‘14 Cement INGREDIENTS Cement + Stone Dust (large) Cement + Fine Sand (small)

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PROCESS This is an experimentation of different mixtures of concrete. I designed the water ripple geometry to give concrete—which commonly seems to be hard and indifferent—an organic and welcoming look.

INNOVATION Although concrete already exists, my concrete pieces are made of varied aggregates with the water ripple geometry I designed and a sealed wax surface.

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Kebei Li

Industrial Design ‘14 Resin Reinforced Natural Fiber Container INGREDIENTS 50-50% Non-Woven Mixed Polypropylene + Kenaf Fiber + Optical Clear Resin

PROCESS The fiber composite is heated to 300° F in a heat press to melt the polypropylene fiber. Then the fiber is placed in a wooden two-part mold and pressed within a hydraulic press.

The polypropylene cools down and holds the shape. Finally, the clear resin is applied to make the composite heavier, stronger and waterproof. It can also be sanded and polished.

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INNOVATION To make the fuzzy-looking natural fiber composite structurally stronger I created this resin reinforced natural fiber container. The process is similar to manipulating a fiber glass-resin composite but the Kenaf Fiber has an earthy and natural look.

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Matthew Lim

Foundations ‘16 A Collection of Experiments 02 INGREDIENTS Sawdust + Wax

PROCESS I heated the wax and mixed in the sawdust.

APPLICATION I intended this material to be used for making small recyclable objects, especially perishables or FMCG.

INNOVATION This material can easily be made at home.

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Matthew Lim

Foundations ‘16 A Collection of Experiments 04 INGREDIENTS Sawdust + Wood Shavings + Wood Glue

PROCESS I mixed and slightly compressed the sawdust, wood shavings and wood glue together.

APPLICATION I envision this material to be used for structural purposes in furniture making.

INNOVATION This material can easily be made at home.

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Ryan Mather

Industrial Design ‘15 ZipPly INGREDIENTS Basswood + Commercially Available Zipper + Commercially Available Staples + Titebond 2 Wood Glue

PROCESS I laminated the plies after securing the zipper into the center and chamfering the edges.

APPLICATION The intended use is for any adaptive piece of furniture for an interior space. I can also imagine it being used for toys and landscape if a different wood was selected.

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INNOVATION It has a flexible joint! This can allow for complex joinery systems that would otherwise require installation of hardware or time-consuming joinery techniques. If it were to be manufactured, many different species of wood and sizes would be available.

Also, I would include metal zipperstops so that the wood could be machined to different dimensions by the end user.

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Margaret Parish

Sculpture ‘14 Steel in Orange Peel INGREDIENTS Orange Peel + Steel Cable Shards

PROCESS The steel shards are a by-product of unknotting a found steel cable. These were inserted into the peel which was dried over a hemispherical form.

APPLICATION This material was intended to embody the eroticism of peeling a fruit.

INNOVATION This piece makes use of two materials that are generally disposed of.

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Margaret Parish

Sculpture ‘14 Pyracantha Berries on Plastic INGREDIENTS Found Plastic + Dried Pyracantha Berries + Glue

PROCESS The berries were strung and allowed to dry before being glued onto the plastic.

APPLICATION This sample was created out of a desire to reverse the material relations seen in the Three Tubers. In this case, an organic material is applied to a synthetic one.

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Margaret Parish

Sculpture ‘14 Two Spherical Composites INGREDIENTS Plaster + Steel (by-product of cutting steel on horizontal band saw) Plaster + steel (by-product of hot forging steel)

PROCESS When working with plaster, there is a small window of time between when the material can be handled and when it becomes hard. These samples are from a series of experiments I conducted within this time frame.

First, the steel was mixed with the liquid plaster. When the mixture cured enough to handle I attempted to form a perfect sphere while rolling it in more steel. The process is complete when the plaster is no longer malleable.

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APPLICATION These materials have a wide variety of applications but I consider them interesting mostly for their use of what is usually considered a useless byproduct of other processes.

INNOVATION These experiments were interesting to me because of how they unveiled the nature of the secondary material.

For example, the steel from the band saw rusted due to the moisture of the plaster whereas the forged slag was exhausted by the heat of the forge and no longer oxidized.

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Kiernan Pazdar Textiles ‘14 Eccentric Weft INGREDIENTS Jagger Spun Wool + Rayon Weft + Cotton Warp

PROCESS This is a hand-woven sample from a four-harness handloom. I created this material by making eccentric weft stripes and then lightly felting the material. This process also caused the rayon to tighten up a bit.

APPLICATION This could be used as an interior fabric or an apparel fabric. It was made with the intention of reinterpreting a historical textile from the RISD Museum’s permanent collection.

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INNOVATION The way the weft curves and the high material contrast make it different from many fabrics I have seen.

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Kiernan Pazdar

Textiles ‘14 Handspun Wool Dobby 01 INGREDIENTS Hand Spun Merino Wool Roving Yarn + Polyester + Cotton Weft Wool + Polyester Warp

PROCESS This is a double weave construction, hand woven on a 24-harness computer aided Dobby Loom. I started by spinning various colors of merino wool into my own yarn that was the desired size and exact color I wanted.

I was then able to weave the stripes continuously because they were already spun into the yarn.

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APPLICATION I think this would be best suited for interior applications but I’d love to see what else could be done with it!

INNOVATION The hand spun yarn allows for a sense of atmosphere in the fabric that I think is really exciting. By creating the yarn myself, I was able to completely control the outcome of the sample.

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Henry Rolnick

Textiles ‘14 Caterpillar Scarf Explorations INGREDIENTS Yarns + Shetland Wool + Metallic + Polyamide

PROCESS Each sample was woven as a very loose tube, then hand-felted and selectively cut.

APPLICATION These explorations were a part of a scarf project and they are meant to be worn as cowls or hoods. The smaller sample could be used as a hand warmer.

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INNOVATION Though the material is not new, the process and technique create a structure that is very interesting.

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Zach Salinger-Simonson

Furniture ‘15 Study of Low and High Density Polyethylene INGREDIENTS High Density Polyethylene (HDPE) + Low Density Polyethylene (LDPE)

PROCESS Cutting plastic bags into linear pieces, I then melted them together in a metal cast safely below each plastic’s melting point.

APPLICATION The ability to cast plastics into forms reutilizes waste materials such as plastic bags in order to create colored compositions with materials. The applications are limitless because the material has the ability to take nearly any form when heated. Melted plastic

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could be used to create an amorphous grid-like structure and its incredibly high tensile strength could allow it to be used like a woven fabric.

INNOVATION Utilization of a waste stream in order to create a palate of materials that have the potential to achieve a certain aesthetic and structure qualities through the combination of different types of plastics and colors.

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Mary Yining Shao

Industrial Design ‘14 Natural Fiber Experimentation INGREDIENTS 50% Natural BAST Fiber + 50% Polypropylene Thread

PROCESS Once the material is heated to 370 degrees, the plastic material will melt and reform the natural fiber. The advantage of this material is that it can be reused just by reheating it, and that it can be simply molded. However, it is very limited in the complexity of the shape and detail you can achieve.

APPLICATION I would imagine it to be used for simple shaping for initial ideas or inner structures of cars.

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INNOVATION It is sustainable and easy to use. The fact that it is inexpensive makes it suitable for large-scale molding.

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Marcela Sierzega

Textiles ‘14 Plastic Lacing and Shoelace Knitted Fabric INGREDIENTS Plastic Laces + Glow in the Dark Laces + Shoelaces

PROCESS Hand knitted.

APPLICATION The plastic lacing knitted fabric is intended for the exterior of a jacket.

The shoelace knitted fabric is intended for the seating of a chair where the fabric serves a structural purpose, not as upholstery.

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INNOVATION The glow in the dark plastic lacing fabric could make an interesting exterior for a jacket for children who could easily get lost in the dark... now parents can find them! Or it could also just be used in small quantities for detailing in coats and such.

The shoelace knitted fabric offers an alternative for traditional woven fabric used for outdoor furniture which could potentially make the furniture more affordable, transportable and just more interesting. Shoelaces serve as a durable yarn which could also be applied to technical textiles used in construction or engineering.

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Eliza Squibb

Textiles ‘13 Human Animal Samples INGREDIENTS Wool + Silk + Rayon

PROCESS Both samples were knit on a knitting machine, one with pile made of wool and dyed with an ombre.

APPLICATION Both samples are extremely wearable.

They provide protection from the elements either through insulation from the cold or breathability and comfort in the heat.

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INNOVATION These samples explore the territory between the animal and human worlds. Made with fibers that come from animals, they imitate the aspects of shed snakeskin or a woolly hide.

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Eliza Squibb

Textiles ‘13 Talismanic Textiles INGREDIENTS Leather + Beetle Wings + Staples + Thread + Bone Beads

PROCESS Beetle wings and bone beads were added into pieces of leather. Enamel medallions were needle-felted between two layers of toile.

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APPLICATION These samples explore the boundaries between permeable and impermeable fabrics. While the fabrics themselves suggest openness and breathability, the hard materials that have been integrated into them suggest adornment and protection.

INNOVATION Rather than a decoration that sits on the surface, these objects become an integral part of the cloth, lending their history and material memory to the fabric.

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Eliza Squibb

Textiles ‘13 Woven Samples INGREDIENTS Cornhusks + Gold Wire + Thread + Coffee Grounds

PROCESS Woven on a floor loom, one sample was woven round, while the other was woven with cornhusks that were dyed with coffee grounds.

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APPLICATION These samples explore alternate uses for materials, using wire and cornhusks as a textile or structural material.

INNOVATION These samples could be used to create a surface that is both collapsible and solid.

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Megan Ulrich Glass ‘14 String Sketch

INGREDIENTS Glass

PROCESS Glass was pulled into string by a machine that I made. Then glass strings are separated by thickness, and placed into a mold in a kiln where they are fused together.

APPLICATION This material is intended for a sculpture that I am making. However, I can envision it being used architecturally in modules like bricks to build semipermeable, ephemeral walls.

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INNOVATION The material, completely made of transparent glass, becomes opaque through density and devitrification.

However, light can still pass through the material in a way that can be fascinating sculpturally and potentially architecturally.

Be careful handling, it is sharp! Pieces may become loose and fall off when handling.

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Marissa Valenza

Sculpture ‘14 Cork Sound Barrier INGREDIENTS Hot Glue + White Plastic + Cork

PROCESS I combined hot glue, plastic and cork to create a tile that would be an effective sound barrier.

APPLICATION I imagine it being useful as a sound barrier that could block out noise in rural areas. It could also be an interesting back-splash in a kitchen.

INNOVATION It is inexpensive to manufacture, assemble and manipulate. It can be cut or bent into any shape and no major equipment is required.

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Marissa Valenza

Silver Leafed Hot Glue INGREDIENTS Hot Glue + Silver Leaf

PROCESS I combined two materials that would otherwise make a rather peculiar combination. Hot glue for its flexibility and silver leaf for its beauty.

APPLICATION This could be used as a fabric or a decorative element.

INNOVATION This material is inexpensive to manufacture and it’s easily manipulated. It could be melted and formed into molds or melted and stretched over a form. If it’s made thin enough, it can also be sewn together.

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Marissa Valenza

Plaster, Graphite, and Rubber Covered Bark INGREDIENTS Plaster + Powdered Graphite + Liquid Casting Rubber + Tree Bark

PROCESS I dipped bark into plaster, let it dry, rubbed some graphite over the surface, and brushed on some liquid rubber to coat the entire piece.

APPLICATION I think this is an interesting method of working and I would like to share my process. I’m not sure how this material would be used, but I think the working process could be very versatile. Plus, the graphite finish will not rub off on your hands when being handled.

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INNOVATION I like how it looks sort of like charred bone... without it actually being a charred bone.

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Marissa Valenza

Sculpture ‘14 Plastic Covered Bark INGREDIENTS Fresh Bark + White Plastic

PROCESS I dipped the bark into liquid casting plastic. This process strengthened the bark and also made it look interesting.

APPLICATION I can imagine it being used for decorative purposes (e.g. interior design... etc.), but also as a potential material for art making.

materials + process

INNOVATION It retains all the natural beauty of bark, but it’s slightly more reinforced. The plastic can be colored pretty much any solid color including day-glo. I chose white as a base color.

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Marissa Valenza Sculpture ‘14 Rubber Cylinder INGREDIENTS Plaster + Powdered Graphite + Liquid Casting Rubber

PROCESS I cast plaster and then carved it with a mold maker’s knife before it was fully cured. I then rubbed on powdered graphite and brushed on liquid rubber.

APPLICATION I think this is an interesting method of working and I would like to share my process. I’m not sure how this material would be used, but I think the working process is good to know because it is very versatile. Plus, the graphite finish will not rub off on your hands when being handled.

materials + process

INNOVATION I think it is a unique object and the working process can hold its own.

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Marissa Valenza Sculpture ‘14 Rubbery Leaves INGREDIENTS Natural Leaves + Liquid Casting Rubber

PROCESS I was experimenting with different ways to preserve a leaf by making it more durable so it can be sewn like fabric.

materials + process

APPLICATION I can imagine this material being useful for many things, but for me, it’s very useful for sewing together to form a “fabric” sheet to use in my sculptures. It can also become an article of clothing, or perhaps some drapes or curtains.

INNOVATION It’s made with love... also, if it does already exist, I feel confident that it’s different enough to be unique.

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Eric Whiting

Textiles ‘14 Synthetic Medicine INGREDIENTS Waxed Cotton + Polyester Floss + Plastic

PROCESS Hand Woven.

APPLICATION The intent of the material was to create a physical response to the contrast of synthetic and natural medicine. The material can be used in both interior and sculptural applications.

materials + process

INNOVATION This material has unique opacity and physical characteristics. It is part of a larger body of work that explored the contrasting relationship between disease and medicine.

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Eric Whiting

Textiles ‘14 White Blood Cells INGREDIENTS Air Filter + Waxed Cotton + Cotton

PROCESS Hand Woven.

INNOVATION This is a physical study relating to the passageway of white blood cells within the body.

materials + process

Eric Whiting Textiles ‘14 Armour

INGREDIENTS Magnets + Cotton + Wool

PROCESS Hand Woven.

INNOVATION This material is a response to observing 18th century armor. It incorporates woven structure properties with magnetic properties.

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Susan Williams Textiles ‘14 Melted Wovens INGREDIENTS Mercerized Cotton + Olefin + Plastic Craft Beads

PROCESS The warp is cotton; it was woven with a mix of cotton, olefin and plastic craft beads. After woven and removed from the loom, the pieces were heated; the plastic craft beads melted to create a stable surface.

APPLICATION This material could be a wall divide that is transparent yet structural and dense.

materials + process

INNOVATION This represents a new idea of how plastic and melted materials can be incorporated into a hand woven material. The idea of the transparent versus the hard plastic man-made structure is very intriguing to me.

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EXHIBITION INSTALLATION VIEWS

materials + process

RISD Material Resource Center 29 April - 9 June 2013

Opening Reception 6 May 2013

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materials + process

MATERIALS + PROCESS

an exhibition of student-made materials

25 STUDENTS ¦ 63 MATERIALS ¦ 148 SAMPLES ¦ 3 JURORS

OPENING RECEPTION ¦ Monday May 6, 2013 RISD s Material Resource Center ¦ Fleet Library ¦ 2nd floor ¦ Room 204 On view through June 9, 2013 ¦ Monday‒Friday ¦ 8:30AM‒4:30PM

6:30 - 8:30PM Sponsored by

www.acp.risd.edu

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materials + process

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materials + process

Pictured here: Kelly Dobson, Jennifer Liese, Kate Irvin, Diana Wagner, Mary Anne Friel and Patricia Phillips. | 117

an exhibition of student-made materials