SMcK

for Limerick School of Art and Design

4th Year Fine Art Painting Final Presentation of Work Sinead McKillican K00143286 15th May 2020

Title: ‘Vibrant Orange Cocoons’

CONTENTS Artists Statement CONTENTS

SECTION

Inspirational Artists A Reflection on a Collection Preliminary Maquettes ARTIST STATEMENT Materials: Explorations and Investigations INSPIRATIONAL ARTISTS Relationship between Art and Design A REFLECTION ON A COLLECTION Notes, Sketches, CAD drawings and PRELIMINARY MINIATURE MAQUETTES Prototypes - Series 1-8 PROTOTYPES Studio Space CAD (COMPUTER GENERATED DRAWINGS) OF PROTOTYPES Exhibition of Prototypes at LSAD STUDIO SPACE Artwork ‘Orange Peel’ on Tour @ Home EXHIBITION OF PROTOTYPES IN LSAD Cad drawings on tour @ Home ARTWORK ‘ORANGE PEEL’ ON TOUR @ HOME Exhibition Space Proposal CAD (COMPUTER GENERATED DRAWINGS) Relevant Reading Material

1 2 3 4 5 6 7 8 9 10

Title: ‘Vibrant Orange Cocoons’ Sinead’s final work for 4th year fine art painting in LSAD manisested itself in response to the current ‘Covid 19’ pandemic crisis. ‘Vibrant Orange Cocoons’ imitates our current restrictions relating to social distancing and cocooning as it stands proud alone at home. Components utilised within the work comprise of 5mm thick flexi-plywood, 1.5mm birch bending plywood, orange vacuum plastic forming sheet, large foldback clip and a curved plastic angle connector. Plywood dominates the work, a material selected for its strength and versatility. This easily manipulated material is secured at the base with an angle connecter, the tension that this creates is offset by the liveliness communicated through the vibrant orange reflective material seen cocooning within it. A material perpetually transitioning due to environmental flux, a scenario echoing our evolving pandamic predicament. Also temporary fixing techniques were intentionally used to reflect our current time, a process also facilitating the reconfiguring of the work for a variety of spaces and places when life resumes as we knew it.

ARTIST STATEMENT

ARTIST STATEMENT STIMULATING OPTIMISM

Sinead McKillican’s work involves the emancipation of geometric shapes, transitioning formal 2D shapes into 3-dimensional minimal abstract works. Transformation methods include the utilisation of folds, pleats and curves; techniques that permit the fashioning of multifaceted relief works that blur the boundary between painting and sculpture. Simple and accessible materials play a key role in composing works that comprise of clean lines, reduced artistic vocabulary, simplicity of form and multiple facets. This work also explores colour, reflective materials, light, spatialisation and standardisation. The core of McKillican’s process involves the manipulation of shapes (materials) to achieve colourful playful 3-dimensional objects, features that stem from intuition rather than a philosophical perspective. Ultimately these techniques offer not only an opportunity to transform ‘things’ but also to express one’s own individuality.

Multi-faceted compositions emerge either during the creative or installation process of the work culminating in the capacity to view several facets simultaneously. Hence permitting the exploration of what lies beyond; as expressed in the following quotes by Gerhard Merz; ‘Art gives us the chance to think absolutely idealistic beyond any pragmatic considerations; it is a statement of what life should be, and not what it is.’

Execution of the creative process is dependent on many factors including, but not limited to: custom made tools, templates, paint, placement / positioning, photography, investigations and research. Initially objects created emerged from looking and seeing details that occupied the environment, however McKillican’s latter works were inspired by several artists, principally the Irish artist Patrick Scott and the Dutch artist Jan Maarten Voskuil. Other influential artists include Hermann Glöckner (Faltung I, ca. 1980) and Charlotte Posenenske (BlaueFaltung (Blue Fold, 1965). Artists szynonymous with folded reliefs / relief paintings and / or structures.

KEY ELEMENTS RELATING TO THE EVOLUTION AND EXECUTION OF THE WORK: Research, investigations and experimentations are fundamental to the development of all work, some begin with basic outline drawings, the construction of tools, templates and / or maquettes while others evolve by chance. Scale too is also central in the work, often dictated by the materials selected. McKillican has explored a multitude of materials including but not limited to; flexi plywood (short grain), plywood, softwood timber, wood veneer strips, vacuum forming plastic sheets, a variety of metals, plastic paperclips / pushpins, recycled fluorescent tubes, led panel light diffuser, canvas, spray paint, acrylic paint, metallic paint, wax, varnish, primer, gold-leaf and a variety of cards and papers. Other materials are specified on sketches and CAD drawings (computer generated drawing).

OBJECTIVE: The objective of the minimal and colourful abstract objects is to stimulate optimism, an outcome wholly dependent on the viewer’s engagement with the work and the environment in which they are placed.

Ultimately the objects fashioned are just simply objects, yet an alchemical reaction occurs when the works are assigned a title; suddenly they seem to breathe life and develop a quirky playful personality.

COLOUR: Colour plays a significant role in the work due to its ability to enkindle a variety of emotional reactions and sensations, while also energising and sustaining the work. Orange is a colour that remains a constant in the work. This is an effervescent colour that inspires optimism and creativity, also associated with joy, energy and happiness. Orange is also a spiritual colour, a colour often associated with Buddhist monks. It comprises a mixture of yellow and red, with yellow representing happiness and red representing energy.

REFLECTIVE MATERIALS: Reflective surfaces also feature in the work, as its inherent properties fuel a perpetual visual transformation owing to environmental flux. Consequently viewers perception of space, shadows and colours will be in a state of constant flux as the work mirrors its environs.

SCALE: Scale and proportions are essential components in achieving a balanced and balanced and harmonious composition. Experiments to date have explored a variety of scales each guided by several external factors including the availability of suitable materials, space to work in, access to tools and finances etc.. While these factors may seem limiting, they also play a significant role in fostering creativity.

PLACEMENT: Placement is fundamental to the works as some compositions are dependent on light (natural and / or artificial) to traverse their surface to transition their aesthetic. The result of which provides the viewer with an additional and unexpected illuminated visual. Consequently, the configuration of a composition and its placement is key to achieving the intended outcome.

DOCUMENTING THE WORK: Documenting the work is an essential part of McKillican’s practice. Photographic (digital) records facilitate the potential for the work to be tracked, reviewed and analysed.

OUTCOMES: Outcomes are driven by a desire to achieve a personal composition and aesthetic. Some works require the construction of custom-made tools, templates and maquettes to advance the work, others evolve through the physical engagement with materials. Consequently the outcome of a work is not truly recognised until its placement, and multiple outcomes can be achieved by repositioning the artworks. The celebrated artist Sol Le Witt was a master at producing ephemeral, reinstallation works producing multiple outcomes (e.g.

‘Wall Drawings’). Outcomes vary, some entities appear to float, some suspended while others infer light, illumination and or transparency. Each work embodies its own unique characteristics, some works are capable of being placed in a variety of locations (repositioned) while others hang on a wall similar to conventional paintings. Placement plays a significant role in the work; it according to Richard Artschwage ‘… generates a new experience for the viewer, a fresh reading / interpretation’.

GOALS: McKillican’s goal is to create simple colourful, light-hearted relief works that blur the boundary between painting and sculpture, objects that happily occupy and blend into a variety of architectural places and spaces. Visuals free from words and literal expression, images fashioned to stimulate optimism. Works that prompt the viewer to question composition, placement and intended message, if any. McKillican anticipates that recontextualising the familiar, merging art and architecture will continue to trigger fresh ideas for future innovative works. Ultimately artists create work that is unavoidably an extension of themselves therefore the work is principally about the ‘self’, self-fulfilment, self-satisfaction and self-expression, as expressed by Matisse in the following quote, ‘Art as a personal expression...based on the intuitive synthesis of sensation from nature.’

ON REFLECTION: On reflection, several elements are continually at play within the work including colour, line, form, contour, illusion, shape and space. These elements play a key role in composing a composition aimed at achieving a personal aesthetic. Many works appear to emerge intuitively, some at variance, others harmonious; yet all worthy of exploration, a practice akin to the following extract from essay titled Colour, Time and Structure

by Hélio Oiticica's: ‘…the genesis of the work of art is to such a degree connected to and experienced by the artist, that it is no longer possible to separate matter from spirit, because as Merleau-Ponty points out, matter and spirit are dialectics of a single phenomenon. The artist guiding and creative element is intuition as Klee once said, ‘in the final analysis the work of art is intuition, and intuition cannot be suppressed.’ (Essay in book titled: Colour After Klein, pg 168) Retrospectively much of the work created exhibits characteristics associated with the Cubist Art movement, similarities include geometric themes and the ability to view multiple facets simultaneously. The elusive entities created within McKillican’s work abandon ‘Traditional Painting’ styles and lean more towards ‘Expanded Painting’. This is a more dynamic approach to ‘art’ focusing not just on painting (if even) but on materiality, process and outcomes.

Objects are created to achieve an aesthetic, a composition that deliberately alters the perception of space and provokes the viewer to engage with it. For some, works may remain meaningless, whilst others may attain a unique visual experience. Regardless the intention for the work is in accordance with the following quote by John McLaughlin: ‘to communicate only to that extent that…’works‘…will serve to induce or intensify the viewers natural desire for contemplation without the benefit of a guiding principle’ Dutch artist Jan Maarten Voskuil inspired McKillican’s final body of work in LSAD. Other inspirational artists include Carlos Cruz-Diez whose work focuses on Kenetic energy and colour, Lygia Clark (Brazilian) associated with the Brazilian Constructivist movement and Jesus Soto (Venezuelan) whose work dealt with pure abstraction, colour theory, and the dynamic between background and foreground.

ARTIST RESEARCH

INSPIRATIONAL ARTISTS Retrospectivily the Irish artist Patrick Scott (1921 – 2014) and the Dutch artist Jan Maarten Voskuil (b. 1964) were inspirational in the development of McKillican’s body of work. While some similarities exist between these artists, many visual discrepancies are also apparent. Each exploring geometry in a dramatically different fashion producing non-objective oeuvers that ooze exuberance and liveliness.

Scott’s formal geometric work is serene and remains true to graphical representation of the shapes, the dominant shape being the circle. While Jan Maarten Voskuil’s work involves the manipulation of geometric shapes, predominantly the circle to create playful sculptural forms. The images below provided an intresting visual conection between each of the artists artworks.........different yet similar!!!!!

WORK BY PATRICK SCOTT

Patrick Scott Meditation Series Tempera and gold leaf on ash 85.5 x 86.5 cm, (33.7 x 34.1 in.)

Patrick Scott Gold Painting 12.94 Gold leaf & tempera on unprimed canvas 96'' x 48''

WORK BY JAN MAARTEN VOSKUIL

Jan Maarten Voskuil Flat-Out Pointless Blue, Improved & Renewed, 2017 Acrylic on linen

Jan Maarten Voskuil Studio Sunset I, Painting 2012–2019 Acrylic on linen 70.75 x 47 x 12 in. (179.7 x 119.4 x 30.5 cm.)

BEAT ZODERER UM 5 ECKEN HERUM Installation View, 2017 Von Bartha, Basel Beat uses everyday items/materials (generally sourced from DIY shops), items with no sentimental value. He attempts to create order in the chaos.

Work comprises of repetition, structures and colourful abstract compositions.

Chance plays a large part of his work as do imperfections and mistakes.

Works include sculptures, large-scale installations, assemblages & collages Beat also explores shapes, colours and materials.

Words to describe his practice include, constructivism, abstraction, colourful (bright), playfulness, minimalism, perception of space.

SOL LE WITT Wall Drawing 462 Image: https://massmoca.org/event/walldrawing462/ Conceptual art / Minimalism (Known for his wall drawings and ‘structures’) Mesmerising abstract works in both colour & black & white The versatility of scale is intriguing The combination of shapes linear…geometric, curves...grids…add fantastic effects. Work reveals order among chaos

TOMMA ABTS Epko, 2002 Acrylic & Oil on Canvas 48cm x 38cm Winner of the Turner Prize 2006 Small scale, hard-edge paintings, each the same size (48 x 38 cm) in acrylic and oil paint.

She neither has any preconceived notion of her finished piece nor does she use any source material to generate her work.

HÉRCULES RUBENS BARSOTTI Nº 8, 1994 Acrylic on canvas on wood 33 1/2 × 33 1/2 in, 85 × 85 cm Radical geometric works devoid of any trace of his hand or brush, simplified to the extreme.

Linked to Concrete Art, Op Art, Latin American Art, Modern and Impressionist Art, Hard-Edged, Brazil, 20th Century Art, Math, Linear Forms, Line, Form, and Colour and Painting.

Initially painted abstract works circa 1940 and later embraced some of the concepts of Concrete art yet never fully embraced its philosophies.

Towards the late 1950’s he joined the Neo-Concrete movement and began to create and exhibit work that manipulate space through subtle interruptions of the pictorial plane.

DANIEL BUREN Conceptual Artist) De travers et trop grand - bleu, 2013 Blue adhesive vinyl large (8,7 cm on white wall) Buren encapsulates sculpture, installation & painting, explores the relationship between art & its perception, focusing on repetition, abstraction

HERMANN GLÖCKNER Faultung 1, 1967/75 Brass alloy, Ed. 6/6 - 21 x 56 x 20 cm Glöckner focuses on minimalist Art, collage-like paper fold’s – folded cardboard panels examining the spatial potential of systematised & reduced geometrical forms.

Faltung 1 is based on the diagonal folding of a rectangle that balances on the tip.

DAN FLAVIN Untitled (to Tracy, to celebrate the love of a lifetime), (1992) Pink, green, blue, yellow, daylight, red, and ultraviolet fluorescent light, Dim: Variable Flavin utilises fluorescent bulbs & industrial light fixtures, with consideration given to, Placement, Relationship with architectural spaces, Altering the viewers perception of space, Shadows and Dramatic colours

Charlotte Posenenske (Minimal and Conceptual & Modern artist.)

Work in Progress (18 October 2019 - 8 March 2020), Museu d'Art Contemporani de Barcelona, Spain.

Posenenske investigates and explores spatialization and standardisation of works.

Modular sculptures / elementary forms and primary colorus, Works linked to their surrounding architecture.

Concave and convex shapes.

A REFLECTION ON A COLLECTION

A REFLECTION ON A COLLECTION

A body of work that comprises of a variety of materials, some possessing an inherent reflective quality. Materials explored include copper, aluminium, zinc, plywood, acetate sheets, wood veneer, and acrylic plastic.

Folds, curves and creases are among some of the techniques utilised to reshape materials. Techniques that permit multiple surfaces of a material to be viewed simultaneously, transitioning formal 2D shapes into 3-Dimensional objects.

The manifestation of work emerges in some cases through the utilisation of a single material while others are dependent on the synthesis of multiple materials.

Reflectivity is a key component in the work as it serves to mirror not only its environment but also the viewer.

PRELIMINARY MAQUETTES

MAQUETTES

A fresh vision for work emerged after researching the methodologies of Charlotte Posenenske, Hermann Glockner, Jorge Pardo and Jan Maarten Voskuil, artists that prompted the exploration of a new body of work that stemmed from the construction of a number of maquettes. The construction of these objects led to the investigation of a variety of materials and techniques that resulted in many different outcomes.

Maquettes constructed comprised of malleable materials including card, paper, foam-board, acetate sheets, masking tape and glue as-well as acrylic paint pens, highlighters and colouring pencils.

Subsequent to the construction of the maquettes it was decided to recreate a selection at a larger scale; hence began a journey of further investigation, experimentations and explorations to determine the techniques and materials fit for purpose.

Techniques explored included folds, curves, bends and creases; as well as the technology, if required, to create multifaceted 3-Dimensional work.

Materials investigated included the following but not limited to: flexi-plywood, standard construction plywood, vacuum forming plastic sheets, wood veneer strips, timber beading, timber dowels, acrylic plastic, copper, aluminium, artists papers, spray paint, metallic paint, acrylic paint, glue, primers, varnish and protective resin.

MATERIALS: EXPLORATIONS / INVESTIGATIzzON

FLEXI-PLYWOOD RESEARCH

Original design upholstered bench / plywood / for public buildings / curved - DNA : DN 300R by Leonardo Rossano & Debora Mansurz https://www.archiexpo.com/prod/true-design-srl/product-105491-1799496.html Bending / Flexi Ply. https://www.strahan.ie/bendingflexiplywood.html

Description: Flexi ply is an 8’ x 4’ (2440mm x 1220mm) flexible plywood sheet, easily bent by hand. This product is ideal for tight radius work and can be bonded together in its curved form to produce any thickness as required.

Dimensions 5mm Flexi Ply Cross Grain 2440mm x 1220mm 8mm Flexi ply Cross Grain 2440mm x 1220mn 1.5mm Birch Bending Ply 1500mm x 1500mm

5mm Flexi Ply Long Grain 2440mm x 1220mm 8mm Flexi ply Long Grain 2440mm x 1220mn

BENDING PLYWOOD METHODS There are many ways to bend plywood; the best method to use depends partly on the size of your project, partly on the type and thickness of the plywood being used, and partly on the resources you have available.

How to Bend Plywood Use multiple thin sheets and bond them together, rather than using one thicker sheet. This is a longer process providing visually better results. Baltic birch is an excellent choice

Work slowly, allowing the wood’s fibres to stretch gradually, reducing the risk of cracking or breaking.

Bending Plywood in Moulds: Build moulds to your desired specification. MDF is a good product to use for this purpose as it is strong enough to keep the plywood contained. Cut pieces of thin plywood to fit inside the moulds.

Always make your plywood pieces longer than needed and trim off excess later. Working quickly, place your plywood strips into the moulds one at a time. Cover the top of each strip with a generous layer of wood glue before adding the next strip of wood. Clamp the mould together tightly and allow to set for 8 to 24 hours depending on size and shape.

Kerf Bending Plywood: This is one exception to the bending plywood thickness “rule” about choosing the thinnest sheets possible. You can kerf bend plywood over ½” thick . Choose plywood for kerf bending carefully: Birch or Baltic birch is an excellent choice. Use a kerf spacing calculator to determine how many cuts you’ll need to make and how far apart to space the cuts for kerf bending. Always do a test bend on a scrap piece of wood if possible, then use a radial arm saw or table saw to cut the slots in the plywood. If the cuts are too shallow, the plywood won’t bend successfully; if they’re too deep, the piece will break rather than bend.

After the initial cuts have been made lengthwise, use a circular saw to cut into the kerfs. This adds more flexibility and makes room for hidden splines. Then fill the cuts with wood glue and carefully bend the piece into the desired shape.

Push the splines into place allowing time for curing. On completion, sand the glue and use wood filler to conceal it before finishing.

Steam bending Plywood is also an option Choosing Bendable Plywood While it’s possible to put a mild curve in most types of plywood, not all plywood is truly bendable. If working on a model, an art installation, or a piece of furniture, it’s a good idea to look into “flexible board” or “bending plywood.”

These types of bendable plywood are designed to flex in different directions without cracking, and they can take on the shape of nearly any contour.

EXPERIMENTS & INVESTIGATION

Studio Image of several experiments relating to the bending of a variety of materials including; metal, timber and card

Jorge Pardo‘s sculptures, installations, paintings, buildings, and furnishings merge art with architecture and design. Using vibrant colours, patterns and natural and industrial materials, he successfully creates and transforms everday objects and spaces.

RELATIONSHIP BETWEEN ART AND DESIGN

RELATIONSHIP BETWEEN ART AND DESIGN

The Relationship between art and design is one that has posed many challenges over the course of McKillicans Fine Art Painting journey. The primary inhibition harboured were self-inflicted as Mckillican and others tagged her skillset as leaning more towards ‘design’ rather than ‘art’. A tag linked to previous training and work experience as an architectural technician. Life experiences that possibly altered her perception and honed her preference for formal refined aesthetics. Yet McKillican was curious whether it was one’s training or nature that dominated and manifested in one’s creativity. Naively she assumed that new training, experiences and environment would stimulate a more painterly, free flowing aesthetic. Alas, it was not to be, as design elements continually manifested in the work blurring the boundaries between art and design.

Determined to stay the course, many explorations, investigations and research were undertaken to identify the differences and similarities between ‘Art’ and ‘Design’ and where design fitted into fine art. After much debate, deliberation, discussion and research over the course of her time in LSAD, she succumbed to the realisation that fundamentally design lies at the core of all artwork. Research revealed that many other artists were also discussing the relationship between ‘Design and ‘Art’ including the American artist Andrea Zittel and the Cuban-American artist Jorge Pardo. Each explore artwork that blur the lines between art and design. Despite Zittels approach to designing experiments she does not regard herself a ‘Designer’, as she does not design or make products for the masses, but for herself. Yet she embraces the term ‘Designer’, (reference: A-Z Drive-Thru Conversation Beatriz Colomina, Mark Wigley, and Andrea Zittel). The following extract by Andrea Zittel made me realise that the only limits in our life are those we impose on ourselves; ‘Things that we think are liberating can ultimately become restrictive, and things that we initially think are controlling can sometimes give us a sense of comfort and security.’

Pardo too engages viewers with works that also question the distinction between fine art and design, exploring the intersection of contemporary painting, design, sculpture, and architecture. Pardo believes that his artwork shapes space that plays with people's sense of expectation. Both these artists deliberately weave art and design elements seamlessly and unashamedly in their work. These contemporary artists inspire confidence, push boundaries, propelling creators who follow their lead.

Acknowledging that ‘design’ has a significant role to play in fine art put an end to the constant questioning about the creative process. This phase inspired a new body of work, McKillican’s final body of work in LSAD prior to the ‘Covid 19’ evacuation from the college (12th March 2020), works that involve the emancipation of geometric shapes, transitioning formal 2D shapes into 3-dimensional minimal abstract works. The multifaceted relief works that transpired comprised of simple forms, neutral colours and a limited materials palette, each element designed to create a simple refined aesthetic. The intention was to create work with the minimal amount of parts with each part serving a purpose some of which were intended to provoke visual or tactile stimuli. The vibrant relief works constructed were deliberately designed to alter the space they occupy, accrue meaning and transmit it to those who enter the space. The elusive entities created within my work lean towards ‘Expanded Painting’, a dynamic approach to ‘art’ focusing not just on painting but on materiality, process and outcomes. Similarities between the Constructivist and Cubist Movement are also evident in the work embracing art and design elements. The geometric themes and the ability to view multiple facets simultaneously reflect the Cubist movement while the physical structure, a three-dimensional concept echo Constructivist themes due to the design challenges encountered and scope for potential unexpected outcomes.

In conclusion, ‘Art’ and ‘Design’ share common origins and concept. These activities attempt to communicate a set of ideas to the viewer, each guided by a number of factors including but not limited, to: colour, composition, technical constraints, finances, use, form, content, aesthetics, emotion, expression, culture. ‘Design’ solves problems and is generally related to invention and use. ‘Art’ in the context of ‘Design’ has no purpose, it is for everyone, a manifestation of oneself, a forum of complete artistic freedom.

‘Art’ is simply art practised for its aesthetic value rather than functional value; Art is an idea that has found its perfect form. It does not make a difference what the source is. Source or the genre does not make any difference, whether it is advertising, painting or sculpture or architecture. The formal problems are the same (quote by designer Paul Rand)

Fortunately, McKillican’s concerns in relation to ‘design’ and its place in ‘fine art’ were resolved in the final semester in LSAD due to many investigations together with the unfailing support of tutors and colleagues.

A resolution that culminated in a new body of work that fulfilled a creative need, work that serves no purpose other than to provide visual stimulation for the viewer; an outcome reflecting McKillican’s tendencies towards design and a refined aesthetic, work that exceeded expectations.

‘A work needs only to be interesting’ (Donald Judd)

RECORD OF NOTES, SKETCHES, CAD DRAWINGS & PROTOTYPES SERIES 1 - 8

Colour adds emotional content offering the viewer the opportunity to achieve a unique set of visceral sensations.

SERIES 1-2

NOTES & SPECIFICATION FOR PROTOTYPES No. 1 & 2 PROTOTYPE No. 1 - FUNFOLD Materials: • 2no. sheets of hahnemuhle ould-made print paper (1060mm x 780mm (w) • Spray paint: Rust-oleum high glow fluorescent matt finish • Spray paint: Rust-oleum metallic blue finish • Gold acrylic paint pen (for use on exposed edges of paper) • Paper glue Process: • Spray paint each artists paper a different colour (neon & copper).

• When dry, glur the unpainted surfaces of the paper together • Next fold the paper, as indicated.

Note: Paper relief work investigates contrasting colours, shapes & folds.

Neon & metallic spray paints provide a rich stimulating aesthetic While the subtle application of gold paint to exposed edges add an illuminating quality to the work.

PROTOTYPE No. 2 - COPPER REVEAL Materials: • Hahnemuhle mould-made print paper (530mm x 390mm (w) • Spray paint: Rust-oleum high glow fluorescent matt finish • Spray paint: ‘Carat’ chrome effect copper spray paint • Gold-leaf sheet, size and satin varnish •Gold acrylic paint pen (for use on exposed edges of paper) • Paper glue Process: • Spray paint each artists paper a different colour (neon & copper).

• When dry cut-out slits in the neon paper revealing as indicated.

• Then lay the neon slit artists paper over copper artists paper to create a curved Profile revealing a section of the copper paper at the bottom portion of the work, as indicated.

Note: Work explores the manipulation of Hahnemuhle mould-made print paper.

Curved surface fashioned with slits permit light to radiate through, illuminating the background.

Neon and chrome effect spray paint provides a rich stimulating aesthetic, while gold paint applied to exposed edges reveals subtle illuminating qualities.

DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.1 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour)

TITLE: FUN FOLD

SCALE 1:10 780

@ A3 780

780

1060

Front Eleva on

Diagramma c Views of Spray Painted Ar st Paper MATERIALS · · · · ·

2No. SHEETS OF HAHNEMUHLE OULD-MADE PRINT PAPER (1060mm x 780mm (w) SPRAY PAINT: RUST-OLEUM HIGH GLOW FLOURESCENT MATT FINISH SPRAY PAINT: RUST-OLEUM METALLIC BLUE SPRAY PAINT GOLD ACRYLIC PAINT PEN (for use on exposed edges of paper), PAPER GLUE

PROCESS · · ·

SPRAY PAINT EACH SHEET OF ARTIST PAPER A DIFFERENT COLOUR, WHEN DRY, GLUE THE UNPAINTED FACES OF THE PAPER TOGETHER THEN FOLD THE PAPER AS INDICATED.

NOTE: PAPER RELIEF WORK INVESTIGATES CONTRASTING COLOURS, SHAPES & FOLDS. NEON & METALLIC SPRAY PAINTS PROVIDE A RICH STIMULATING AESTHETIC WHILE THE SUBTLE APPLICATION OF GOLD PAINT TO EXPOSED EDGES ADD AN ILLUMINATING QUALITY TO THE WORK.

Diagramma zzc

Front Eleva on

Side View

DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.2 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour

TITLE: COPPER REVEAL

SCALE 1:10

@ A3

389

FABRIANO FINE ART PAPER (700mm (h) x 650mm (w)

PAPER MARKED-UP, INDICATING LOCATIONS TO BE OUTLINED WITH A GOLD ACRYLIC PEN.

530

HAHNEMUHLE MOULD-MADE PRINT PAPER (2No. SHEETS)

DIAGRAMMATIC VIEW OF COPPER SPRAY PAINT FINISH

DIAGRAMMATIC VIEW OF NEON SPRAY PAINT FINISH

CL PORTION OF COPPER PAPER REVEALED 50

Layout of Slit Loca�ons

Front Eleva�on

Diagramma�c Views

MATERIALS

35 17 17 17

330 280 230 190 150 110 80 50

· · · · · ·

MIRROR LAYOUT/ DIMENSION ABOVE

25 17 17 17

Layout of Slit Loca�ons (indica�ng dimensions)

CL

HAHNEMUHLE MOULD-MADE PRINT PAPER (530mm x 390mm (w) SPRAY PAINT: RUST-OLEUM HIGH GLOW FLOURESCENT MATT FINISH SPRAY PAINT: ‘CARAT’ CHROME EFFECT COPPER SPRAY PAINT GOLD-LEAF SHEET, SIZE AND SATIN VARNISH GOLD ACRYLIC PAINT PEN (For Use On Exposed Edges Of Paper) PAPER GLUE

PROCESS · · ·

SPRAY PAINT EACH ARTISTS PAPER A DIFFERENT COLOUR (NEON & COPPER) WHEN DRY CUT-OUT SLITS IN THE NEON PAPER REVEALING AS INDICATED THEN LAY THE NEON SLIT ARTISTS PAPER OVER COPPER ARTISTS PAPER TO CREATE A CURVED AESTHETIC REVEALING A SECTION OF THE COPPER PAPER AT THE BOTTOM PORTION OF THE WORK, AS INDICATED.

NOTE: WORK EXPLORES THE MANIPULATION OF HAHNEMUHLE MOULD-MADE PRINT PAPER. CURVED SURFACE FASHIONED WITH SLITS TO REVEAL SPACE BEHIND & PERMIT LIGHT TO RADIATE THROUGH AND ILLUMINATE THE BACKGROUND NEON AND CHROME EFFECT SPRAY PAINT PROVIDE A RICH STIMULATING AESTHETIC. WHILE GOLD PAINT WAS APPLIED TO EXPOSED EDGES TO ACHIEVE SUBTLE ILLUMINATING QUALITIES.

Key elements include: Simplicity of form, distorting planes and neutrality of colour.

Series No.3 ‘Orange & Gold Rolly’

NOTES & SPECIFICATION FOR PROTOTYPES No. 3

PROTOTYPE No. 3 - ORANGE & GOLD ROLLY Materials: • Fabriano fine art paper (700mm (h) x 650mm (w) • Spray paint: rust-oleum high glow flourescent matt finish • Gold-leaf sheet, size and satin varnish • Gold acrylic paint pen (for use on exposed edges of paper) • Paper glue Process: • Outline paper front face.

• Spray paint rear face • Apply gold-leaf to unpainted surface and seal • Cut openings along vertical lines, as indicated • Roll finished relief as indicated

Note: Work explores the manipulation of fabriano paper, cuts and vibrant colours

DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.4 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour

TITLE: ORANGE AND GOLD ROLLY

SCALE 1:10

@ A3

700

650

50

CL

FABRIANO FINE ART PAPER (700mm (h) x 650mm (w) 11No. Equal Divisions PAPER MARKED-UP, INDICATING LOCATIONS TO BE OUTLINED WITH A GOLD ACRYLIC PEN.

650

FABRIANO FINE ART PAPER MARKED-UP

30

11No. Equal Divisions eq eq eq eq eq eq eq eq eq eq eq

CUT-OPEN VERTICAL LINES (Dashed Lines) TO REVEAL VIBRANT COLOUR WHEN PAPER IS LOOSELY ROLLED

GOLD-LEAF TO BE APPLIED TO CENTRE SHAPE AND SEALED WITH A SATIN VARNISH

Front Eleva�on Diagramma�c Sketch Indica�ng Proposed Layout

MATERIALS FABRIANO FINE ART PAPER (700mm (h) x 650mm (w) SPRAY PAINT: RUST-OLEUM HIGH GLOW FLOURESCENT MATT FINISH GOLD-LEAF SHEET, SIZE AND SATIN VARNISH GOLD ACRYLIC PAINT PEN (For Use On Exposed Edges Of Paper) PAPER GLUE

PROCESS · · · · ·

Diagramma�c Side View

MIRROR LAYOUT/ DIMENSION ABOVE

CL

DIAGRAMMATIC SKETCH INDICATING DIMENSIONS

· · · · ·

50

OUTLINE PAPER FRONT FACE SPRAY PAINT REAR FACE APPLY GOLD-LEAF TO UNPAINTED SURFACE AND SEAL CUT OPENINGS ALONG VERTICAL LINES, AS INDICATED ROLL FINISHED RELIEF AS INDICATED

NOTE: WORK EXPLORES THE MANIPULATION OF FABRIANO PAPER, CUTS AND VIBRANT COLOURS

Text, References Book titled: Abstraction (Documents of Contemporary Art)

By Maria Lind

Simple basic structures that consist of reduced vocabulary emphasise the visual qualities and materials of the objects.

Series No.4 ‘Retroflex’

NOTES & SPECIFICATION FOR PROTOTYPES No. 4

PROTOTYPE No. 4 - RETROFLEX Materials:Z • 10mm thick MDF support (1210mm (h) x 310mm (w)10mm thick MDF support.

• 2no. coats of ‘Rust-oleum’, painters touch spray paint: bright orange metallic paint.

• 2 no. profiled aluminium sections (50mm wide).

• 70no. wood veneer strips (10mm (h) x 350mm (w)).

• 1no. coat of rust-oleum, painters touch clear varnish.

Process: • Sand, prime and clean MDF prior to application of spray paint.

• Screw fix profiled aluminium sections to MDF. • Fix wood veneer strips to aluminium sections using either glue or double sided velcro tape (colour white)

Note: The work comprises of number of components carefully constructed and assembled to reveal an elegant, fluid profiled composition. The vibrant paint finish selected for the MDF background contrasts dramatically with its profiled facade, this neon colour was selected to stimulate optimism.

The front elevation subtly reveals the vibrant background as it peeps through the openings between the wood veneer strips, while also to permiting light to pass through. A design fashioned to enable the surface of the work to transition in response to environmental flux; resulting in the formation of shadows and shape revealed through the side view.

DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.3 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour

TITLE: RETROFLEX

SCALE 1:10

@ A3

310

250

TREATED, SPRAY PAINTED AND VARNISHED MDF SUPPORT

PROFILED ALUMINIUM SECTIONS

1210

Front Eleva�on

Aluminium Sec�on

DIAGRAMATIC VIEW OF NEON SPRAY PAINT FINISH

MATERIALS · · · · ·

10mm THICK MDF SUPPORT (1210mm (h) X 310mm (w) 2No. COATS OF RUST-OLEUM, PAINTERS TOUCH SPRAY PAINT: BRIGHT ORANGE METALLIC PAINT 2 No. PROFILED ALUMINIUM SECTIONS (50mm WIDE) 70No. WOOD VENEER STRIPS (10mm (h) x 350mm (w)) 1No. COAT OF RUST-OLEUM, PAINTERS TOUCH CLEAR VARNISH

PROCESS · · ·

SAND, PRIME AND CLEAN MDF PRIOR TO APPLICATION OF SPRAY PAINT SCREW FIX ALUMINIUM SECTIONS TO MDF FIX WOOD VENEER STRIPS TO ALUMINIUM SECTIONS USING EITHER GLUE OR DOUBLE SIDED VELCRO TAPE (COLOUR WHITE)

NOTE: THE WORK COMPRISES OF NUMBER OF COMPONENTS CAREFULLY CONSTRUCTED AND ASSEMBLED TO REVEAL AN ELEGANT, FLUID PROFILED COMPOSITION. THE VIBRANT PAINT FINISH SELECTED FOR THE MDF BACKGROUND CONTRASTS DRAMATICALLY WITH ITS PROFILED FACADE, THIS NEON COLOUR WAS SELECTED TO STIMULATE OPTIMISM. THE FRONT ELEVATION SUBTLY REVEALS THE VIBRANT BACKGROUND AS IT PEEPS THROUGH THE OPENINGS BETWEEN THE WOOD VENEER STRIPS. THESE OPENINGS ALSO PERMIT LIGHT TO PASS THROUGH, A DESIGN FASHIONED TO ENABLE THE AESTHETIC OF THE WORK TO ALTER DUE TO THE FORMATION OF A VARIETY OF SHADOWS ASSOCIATED WITH ENVIRONMENTAL CONDITIONS. THE SHAPE CREATED FORM THE SHADOWS ARE REVEALED THROUGH THE SIDE VIEW OF THE WORK.

Diagramma�c Views

Objects provide the freedom for viewers to formulate their own opinion on the work.

SERIES No.5 ‘The Push & Pull of Triangles’

NOTES/ SKETCHES

NOTES & SPECIFICATION FOR PROTOTYPES No. 5

PROTOTYPE No. 5 - THE PUSH & PULL OF TRAINGLES Materials: • 5mm thick flexible-plywood (short grain) 300mm (w) x 300mm (h) • 5mm thick plywood bracing element (3omm (w) x 75mm (h) • 2no. MDF dowels to contort relief work (10mm dia.)

• Spray paint: 'Rust-oleum' high glow fluorescent matt finish • Wood glue • Protective resin • Clear wax Process: • Sand, clean and apply 1no. coat of protective resin to flexi-plywwod.

• Cut flexi-plywwod into 2no. equal triangular sections.

• Spray paint flexi-plywood with the exception of the areas indicated.

• Apply a clear wax finish flexi-plyood surface.

• Secure triangular sections together by gluing a plywood bracing element to the unpainted rear surface, as indicated.

• Finish work with a clear wax.

• Fix MDF dowels between the triangles to controt the material.

Note: Work explores the manipulation of 5m flexi-plywood (short grain), curved surfaces fashioned through the use of mdf dowels to reveal the space behind.

DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.5 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour

TITLE: THE PUSH & PULL OF TRIANGLES

SCALE 1:10

300

@ A3

300

300

300

5mm FLEXI PLYWOO (SHORT GRAIN)

425

5mm FLEXI PLYWOOD (SHORT GRAIN) CUT INTO 2NO. EQUAL TRIANGLES

10mm WIDTH TO BE PROTECTED WITH MASKING TAPE PRIOR TO SPRAY PAINTING

SPRAY PAINT FINISH COLOUR: METALLIC BLUE

SPRAY PAINT FINISH COLOUR: SUN YELLOW

DIRECTION OF GRAIN (V)

30

DIRECTION OF GRAIN (H) 10mm UNPAINTED SURFACE

75

SPRAY PAINTED SURFACE

30 x 100mm PLYWOOD BRACING ELEMENT TO SECURE TRIANGLES IN PLACE

FIT MDF BEADING TO CONTORT FLEXI PLY

CLEAR WAX TO BE APPLIED TO FINISHED WORK

Front View

Rear View

Plan View

MATERIALS · · · · · · · ·

5mm THICK FLEXIBLE PLYWOOD (SHORT GRAIN) 300mm (w) x 300mm (h) 5mm THICK PLYWOOD BRACING ELEMENT (3Omm (w) x 75mm (h) 2No. MDF DOWELS TO CONTORT RELIEF WORK (10mm Diameter) SPRAY PAINT: 'RUST-OLEUM' HIGH GLOW FLOURESCENT MATT FINISH SPRAY PAINT: 'QUICK COLOUR' MULTI-SURFACE PAINT (SUN YELLOW) WOOD GLUE RESIN CLEAR WAX

PROCESS · · · · · · · ·

SAND, CLEAN AND APPLY 1NO. COAT OF PROTECTIVE RESIN TO FLEXI PLYWWOD CUT FLEXI PLYWWOD INTO 2NO. EQUAL TRIANGULAR SECTIONS SPRAY PAINT FLEXI PLYWWOD WITH THE EXCEPTION OF THE AREAS INDICATED APPLY A CLEAR WAX FINISH FLEXI PLYOOD SURFACE SECURE TRIANGULAR SECTIONS TOGETHER BY GLUING A PLYWOOD BRACING ELEMENT TO THE UNPAINTED REAR SURFACE, AS INDICATED FINISH WORK WITH A CLEAR WAX FIX MDF DOWELS BETWEEN THE LONG LENGTHS OF THE TRIANGULAR SECTIONS TO CONTORT THE MATERIAL

NOTE: WORK EXPLORES THE MANIPULATION OF 5M FLEXI PLYWOOD (Short Grain) CURVED SURFACES FASHIONED THROUGH THE USE OF MDF DOWELS TO REVEAL SPACE BEHIND.

Diagramma�c Views Note: Choice of Colours May Vary)

NOTES/ COLOUR/ SPACE

The work relates to Space and Time both intrinsically linked and alter as time passes.

SERIES No.6 ‘Orange Reveal’

NOTES SPACE / OBJECTS/ ART & OBJECTHOOD

NOTES & SPECIFICATION FOR PROTOTYPES No. 6

PROTOTYPE No. 6 - ORANGE REVEAL Materials: • 5mm thick flexible-plywood (short grain) • 5mm thick plywood support • Timber beading (10mm) • Orange vacuum plastic forming sheet (other colours are optional) • Multipurpose glue • Protective resin • Clear wax Process: • Plywood sanded, cleaned and coated with a protective resin finish • Orange vacuum forming plastic fixed to plywood with multipurpose glue • Flexi plywood marked-up with elongated oval shapes to be cut-out • Sand, clean and pply protective coat of resin to flexi plywood & finish a clear wax • Secure manipulated flexi plywood between mdf beading, creating a curved profile.

Note: Work explores the manipulation of flexi-plywood.

Curved surface are fashioned with slits to reveal space behind, permitting light to radiate through and illuminate the background.

Neon reflective forming plastic provideS a rich stimulating and illuminating aesthetic.

DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.6 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour

TITLE: ORANGE REVEAL

SCALE 1:10

610

10

@ A3

475

MDF BEADING

ORANGE VACUUM FORMING PLASTIC SHEETS

525

610

505 5mm PLYWOOD SUPPORT MDF BEADING

Front Eleva�on Plywood Support (5mm Thick)

2No. LENGTHS OF MDF BEADING

SECURE MDF DOWELS TO TOP AND BOTTOM OF PLYWOOD & SECURE ORANGE VACUUM FORMING PLASTIC SHEET TO PLYWOOD AS INDICATED

ORANGE VACUUM FORMING PLASTIC SHEETS (Other Colours are Op�onal)

610

450 350 300 230 170

EQ

120

CL

610

M IR ROR LAYO UT/ DIM EN SION ABOVE

50

14

18 EQ

22

26

30

70

Front Eleva�on

Front Eleva�on

Pre-Cut Flexi Plywwod (5mm Short Grain)

Indica�ng Elongated Oval Cut-out Loca�ons

DIAGRAMMETIC SKETCH OF SLIT LOCATIONS NOTE: SLITS TO BE CUT IN ELONGATED OVALS OVAL SLITS TO REVEAL BACKGROUND ELEMENTS

MATERIALS · 5mm THICK FLEXIBLE PLYWOOD (SHORT GRAIN) · 5mm THICK PLYWOOD SUPPORT · TIMBER BEADING (10mm) · ORANGE VACUUM PLASTIC FORMING SHEET (Other Colours are Op�onal) · MULTIPURPOSE GLUE · RESIN · CLEAR WAX PROCESS · PLYWOOD SANDED, CLEANED AND COATED WITH A PROTECTIVE RESIN FINISH · ORANGE VACUUM FORMING PLASTIC FIXED TO PLYWOOD WITH MULTIPURPOSE GLUE · FLEXI PLYWOOD MARKED-UP WITH ELONGATED OVAL SHAPES TO BE CUT-OUT · SAND, CLEAN AND PPLY PROTECTIVE COAT OF RESIN TO FLEXI PLYWOOD & FINISH A CLEAR WAX · SECURE MANIPULATED FLEXI PLYWOOD BETWEEN MDF BEADING, CREATING A CURVED PROFILE. NOTE:

Front Eleva�on & Diagramma�c Views of Relief Work

WORK EXPLORES THE MANIPULATION OF FLEXI PLYWOOD. CURVED SURFACE FASHIONED WITH SLITS TO REVEAL SPACE BEHIND & PERMIT LIGHT TO RADIATE THROUGH AND ILLUMINATE THE BACKGROUND. NEON REFLECTIVE FORMING PLASTIC PROVIDE A RICH STIMULATING AND ILLUMINATING AESTHETIC.

CL

Balance and Harmony Balance relates to the visual weight of elements within a composition while harmony is achieved when these elements are unified to attain a satisfying visual aesthetic.

Series No.7 ‘Circle Squared’

NOTES SHAPES / SKETCHES

NOTES & SPECIFICATION FOR PROTOTYPES No. 7

PROTOTYPE No. 7 - CIRCLE SQUARED Materials: • 5mm thick plywood 600mm (w) x 600mm (h) • 5mm thick flexi-plywood (short grain) 300mm (w) x 300mm (h) • Aluminium 280mm (w) x 300mm (h) • Orange vacuum forming plastic sheet 280mm (w) x 300mm (h) (other colours are optional) • MDF beading (2no. 300mm lengths) • Wood glue, • Protective resin & • Clear wax.

Process: • Plywood board marked-up and cut into a squared circle as indicated.

• 2no. triangle corners to be removed & glues to plywood. reversing the direction of the grain to, as indicated.

• Glue MDF beading sections, as indicated.

• Secure aluminium section between beading.

• Remove 200mm diameter circle from the centre of 5mm flexi ply sheet & cover with orange vacum forming sheet.

• Fix orange circle component to aluminium, as indicated.

• Secure 300mm sq flexi-plywood between timber beading.

• All timber elements to be sanded, cleaned, coated with protective resin.

• Apply clear wax to timber components.

Note: 3D relief work explores the manipulation of flexi-plywood, curved surfaces fashioned to reveal space behind.

DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.7 Note: Design Elements of the Work May Be Modified if Required e.g. Scale. Materials and / or Colour

TITLE: CIRCLE SQUARED

SCALE 1:10

@ A3

600

Ø600

600

600 X 600mm PLYWOOD 600mm DIAMETER CIRCLE OUTLINE

2No. CORNERS TO BE REMOVED

DIAGRAMMATIC SECTIONS TO BE REMOVED

280

300

REMOVED COMPONENTS TO BE GLUED TO PLYWOOD REVERSING THE DIRECTION OF THE GRAIN AS INDICATED

FIX 2No. MDF BEADING SECTIONS TO PLYWOOD AS INDICATED

SECURE ALUMINIUM SECTION BETWEEN MDF BEADING AS INDICATED. (REFLECTIVE SURFACE)

300

300

Ø200

REMOVED CIRCLE REMOVE 200mm DIAMETER CIRCLE FROM THE CENTRE OF 5mm FLEXI PLY SHEET AND COVER WITH ORANGE VACUM FORMING SHEET NOTE: OTHER COLOURS ARE OPTIONAL

MATERIALS · 5mm THICK PLYWOOD 600mm (w) x 600mm (h) · 5mm THICK FLEXI PLYWOOD (SHORT GRAIN) 300mm (w) x 300mm (h) · ALUMINIUM 280mm (w) x 300mm (h) · ORANGE VACUUM FORMING PLASTIC SHEET 280mm (w) x 300mm (h) (OTHER COLOURS ARE OPTIONAL) · MDF BEADING (2NO. 300mm LENGTHS) · WOOD GLUE, PROTECTIVE RESIN & CLEAR WAX

SECURE CIRCLE TO ALUMINIUM AND SECURE 300 X 300mm FLEXI PLYWOOD BETWEEN MDF BEADING

PROCESS · PLYWOOD BOARD MARKED-UP AND CUT INTO A SQUARED CIRCLE AS INDICATED. · 2No. TRIANGLE CORNERS TO BE REMOVED · REMOVED COMPONENTS TO BE GLUED TO PLYWOOD REVERSING THE DIRECTION OF THE GRAIN TO · THE ORIGINAL BOARD, AS INDICATED · GLUE MDF BEADING SECTIONS, AS INDICATED · SECURE ALUMINIUM SECTION BETWEEN BEADING · REMOVE 200mm DIAMETER CIRCLE FROM THE CENTRE OF 5mm FLEXI PLY SHEET & COVER WITH · ORANGE VACUM FORMING SHEET · FIX ORANGE CIRCLE COMPONENT TO ALUMINIUM, AS INDICATED · SECURE 300mm SQ FLEXI PLYWOOD BETWEEN TIMBER BEADING · ALL TIMBER ELEMENTS TO BE SANDED, CLEANED, COATED WITH PROTECTIVE RESIN · APPLY CLEAR WAX TO TIMBER COMPONENTS NOTE: 3D RELIEF WORK EXPLORES THE MANIPULATION OF FLEXI PLYWOOD, CURVED SURFACES FASHIONED TO REVEAL SPACE BEHIND.

Front Elevation

Diagramma�c Views

BALANCE & HARMONY

Art facititates the creation of a new definitation of ourselves and the context in which we operate. Artists at their core are MAKERS.

Series No.8 ‘Orange Peel’

SKETCHES

NOTES & SPECIFICATION FOR PROTOTYPES No. 8

PROTOTYPE No. 8 - ORANGE PEEL Materials: • 5mm thick flexi-plywood (short grain) • 2 no. circa 285 (h) x 300mm flexi-plywood (short grain) • 1 no. circa 600 x 600mm flexi-plywood (short grain) • 1 no. 550mm diameter MDF ring 10mm (thick/depth) • 4no. 10mm diameter MDF dowels (circa 300mm length)to contort fllexiz plywood • Spray paint: bright orange metallic paint (Rust-oleum, painters touch), 2no coats Process: • Sand, clean & apply protective resin to 600mm x 600mm sheet of flexi plywood (short grain) • Mark-up a 425mm diameter circle from the centre of the flexi-plwood sheet • Cut sheet into 3no. parts as indicated • Paint the circle with metallic paint (orange) Apply clear wax to flexi plywood • Secure the flexi plywood to a circular mdf ring (orientating the grain in different directions) • Fit 4no. dowels between the flexi-plywood and MDF ring, as indicated to contort the flexi-plywood.

Note: This work transitions 2D compoments into a 3-dimensional work, revealing multiple facets simultaneously.

DRAWING AND SPECIFICATION FOR PROPOSED MAQUETTE NO.8 Note: Design Elements of the Work May Be ModifieD if Required e.g. Scale. Materials and / or Colour

TITLE: ORANGE PEEL

SCALE 1:10

@ A3

605 5 300

300

MDF DOWELS TO CONTORT FLEXI PLYWOOD

10 10

5

550mm DIAMETER MDF RING (10MM THICK)

285 R220

5

R220

575

R275

600

R220 285 FLEXI PLYWOOD (SECTIONS TO BE SECURED TO MDF RING

Front Eleva�on

Rear Eleva�on

SIDE VIEW

MATERIALS · · · · · · ·

FLEXI PLYWOOD (SECTIONS TO BE SECURED TO MDF RING 550mm DIAMETER MDF RING (10MM THICK) MDF DOWELS TO CONTORT FLEXI PLYWOOD

5mm THICK FLEXI PLYWOOD (short grain) 2 No. CIRCA 285 (h) x 300mm FLEXI PLYWOOD (short grain) 1 No. CIRCA 600 x 600mm FLEXI PLYWOOD (short grain) 1 No. 550mm DIAMETER MDF RING 10mm (Thick/Depth) 4No. 10mm DIAMETER MDF DOWELS (Circa 300mm length) TO CONTORT FLEXI PLYWOOD SPRAY PAINT: BRIGHT ORANGE METALLIC PAINT (RUST-OLEUM, PAINTERS TOUCH), 2No COATS

PROCESS ·

PLAN VIEW

· · · · · ·

SAND, CLEAN & APPLY PROTECTIVE RESIN TO 600mm x 600mm SHEET OF FLEXI PLYWOOD (SHORT GRAIN) MARK-OUT 425MM DIAMETER CIRCLE FROM THE CENTRE OF THE FLEXI PLYWOOD SHEET CUT SHEET INTO 3No. PARTS AS INDICATED PAINT THE CIRCLE WITH METALLIC PAINT (ORANGE) APPLY CLEAR WAX TO FLEXI PLYWOOD SECURE THE FLEXI PLYWOOD TO A CIRCULAR MDF RING (ORIENTATING THE GRAIN IN DIFFERENT DIRECTIONS) FIT 4NO. DOWELS BETWEEN THE FLEXI PLYWOOD AND THE MDF RING, AS INDICATED SO AS TO CONTORT THE FLEXI PLYWOOD

NOTE THIS WORK TRANSITIONS 2D COMPOMENTS INTO A 3DIMENSIONAL WORK, REVEALING MULTIPLE FACETS SIMULTANEOUSLY. MDF DOWELS TO CONTORT FLEXI PLYWOOD

Diagramma�c Views

‘The Beautiful is Mute and Void.

My Work is About Reducing Art to it’s Very Own Means, Measure, Colour and Light.’

by Gerhard Merz

STUDIO SPACE

EXHIBITION OF PROTOTYPES AT LSAD

Interestingly as artists the restriction enforced due to ‘Covid 19’ afforded us the rare opportunity to not only re-evaluate our practice but to reposition our work in a new environment, our homes, an exercise that proved stimulating and refreshing.

ARTWORK ‘ORANGE PEEL’ ON TOUR @ HOME

CAD DRAWINGS OF PROTOTYPES ON TOUR @HOME

EXHIBITION SPACE PROPOSAL

EXHIBITION SPACE PROPOSAL

EXHIBITION PROPOSAL / GRADUATE SHOW THOUGHTS

Annually a Graduate Show represents the finish line for final year students at LSAD. The purpose of the show is to celebrate the culmination of the work manifested due to the hard work and determination of the students. A forum for staff, colleagues and families to support students on the next new and exciting phase of their journey. While also providing an opportunity for students to acknowledge the unfailing support offered by staff and colleagues from all departments and resources within LSAD over a four year period.

However this year 2020 everthing changed due to the pandemic refered to as ‘Covid 19’. This year LSAD closed its doors to students on 12th March following a government directive. Consequential to the social distancing guidelines the college has been unable to reopen this term. As a direct consequence the annual Graduate Show has been cancelled, a decision that has devastated students but one that cannot morally be disputed. The inability of the college to comply with the required 2m social distancing guidelines impacts not just the students but also the staff and management of Limerick Institution of Technology, in particular LSAD, as well as family, friends and habitual visitors to the show. 2020 is a year that will be remembered for some time into the future, not only due to the closure of educational facilities, public facilities and work places but also because of cancellation of many sports events, concerts, weddings and funerals. Tragically far too many families have been shattered by the loss of loved one’s to ‘Covid 19’. So if our only burden at this time is to miss out on a Graduate Show, we are among the lucky ones. Our time will come as what’s for us will not pass us by. In the mean time we can be planning our future exhibition and dream big because as Walt Disney said ‘If you can dream it, you can do it’. So for now this exhibition proposal is a visual of what may have been, but also what may be; mindful that this time will pass.

EXHIBITION SPACE PROPOSAL

Name: Sinead McKillican E-mail: sineadmckr@gmail.com Phone: 0868740416 Website: http://sineadmckillican.ie/ Title of Project: Stimulating Optimism Project Rational Sinead McKillican’s work involves the emancipation of geometric shapes, transitioning formal 2D shapes into 3-dimensional minimal abstract works. Transformation methods include the utilisation of folds, pleats and curves; techniques that permit the fashioning of multifaceted relief works that blur the boundary between painting and sculpture. Ultimately these techniques offer an opportunity not only to transform ‘things’ but also to express one’s own individuality. Sinead’s vision is focused on creating thought-provoking elegant aesthetics that manifest through the fusion of simple forms, neutral colours and a limited materials palette; elements key to tantalising the viewers senses. The intention for the work is to create visuals free from words, literal expression and ‘to communicate only to that extent that…’works‘…will serve to induce or intensify the viewers natural desire for contemplation without the benefit of a guiding principle’ (quote by John McLaughlin). Another significant element of the work is its placement and / or repositioning, for it is these decisions according to Richard Artschwage ‘… generates a new experience for the viewer, a fresh reading / interpretation’. Essentially the work is a personal expression, a synthesis of intuition, life experiences and critical analysis; a journey intended to fashion objects that stimulate optimism.

EXHIBITION SPACE PROPOSAL

1500mm ct. Line

PROPOSED LAYOUT OF ARTWORKS 3000mm

600

900

900

Artwork No4.

610

Artwork No3.

425

Artwork No5.

700

275 425

Artwork No6.

Artwork No2.

700

425

Artwork No7.

700

610

275

250

310

Artwork No1.

Artwork No8.

DIAGRAMETIC LAYOUT OF PROPOSED EXHIBITION

4000mm

610

EXHIBITION SPACE PROPOSAL

Name: Course: Semester: Tutor: E:mail: Mobile:

SinĂŠad McKillican Fine Art Painting 2 Aine.NicGiolla Coda K00143286@student.lit.ie 0868740416

Artwork No.1 Title: Circle Squared (Yellow) Dimensions: 600mm (h) x 600mm (w) x 70mm (d) Medium: Mixed Media (mdf/plywood/aluminium/vacuum forming plastic sheets) Date: March 2020

Artwork No.2 Title: Circle Squared (Orange) Dimensions: 600mm (h) x 600mm (w) x 70mm (d) Medium: Mixed Media (mdf/plywood/aluminium/vacuum forming plastic sheets) Date: March 2020

Artwork No.3 Title: Orange Reveal Dimensions: 525mm (h) x 600mm (w) x 165mm (d) Medium: Mixed Media (mdf/flexi-plywood/plywood/vacuum forming plastic sheets) Date: March 2020

EXHIBITION SPACE PROPOSAL

Artwork No.4 Title: Orange Peel Dimensions: 900mm (h) x 900mm (w) x 50mm (d) Medium: Mixed Media (mdf/plywood/flexi-plywood/metallic paint/protective resin) Date: March 2020

Artwork No.5 Title: The Push & Pull of Triangles (blue / yellow) Dimensions: 900mm (h) x 425mm (w) x 40mm (d) Medium: Mixed Media (mdf/flex-plywood/spray paint) Date: March 2020

Artwork No.6 Title: The Push & Pull of Triangles (green / purple) Dimensions: 900mm (h) x 425mm (w) x 40mm (d) Medium: Mixed Media (mdf/flex-plywood/spray paint) Date: March 2020

Artwork No.7 Title: The Push & Pull of Triangles (yellow / cyan) Dimensions: 900mm (h) x 425mm (w) x 40mm (d) Medium: Mixed Media (mdf/flex-plywood/spray paint) Date: March 2020 Artwork No.8 Title: Retroflex Dimensions: 121cm (h) x 31cm x (w) 250cm (d) Medium: Mixed Media (mdf/aluminium/spray paint/wood veneer strips) Date: March 2020

EXHIBITION SPACE PROPOSAL ARTWORK DETAILS

Artwork No.1 & 2 Title: Circle Squared Description: Circle Squared is a minimalist abstract artwork investigating simple geometric shapes, curves and optics.

Components comprise of both reflective and non-reflective materials each providing balance and harmony to the composition. Paramount to this work is the dynamic between circles and squares and the morphing of both shapes. The contorted circle is the focal point in the work and is intended to draw the viewer in to investigate the spaces behind. Such an investigation would result in an act of intimacy between the viewer and the work. An act that would reveal the hidden elements in the work as well as mirror the viewer due to the use of reflective materials.

Artwork No.3 Title: Orange Reveal Description Orange Reveal is a construction made-up of predominantly three simple components, each interconnected and essential to binding the work. Plywood dominates this simple relief work selected for its strength, stability, cost and versatility. Standard builder’s plywood forms the backing support for the work; the scaffolding upon which the work hinges. Flexi-plywood was the preferred choice for the outer layer because of its flexibility. The properties of this material provide scope to contort the outer face of the work to achieve the desired curved profile. Central too is the middle layer unifying the work, this strong orange vibrant reflective material adds value and communicates Liveliness. This multi-faceted construction provides views from several angles. The slits in the outer layer reveal incandescent exuberant visuals while the side angles connect the viewer with what lies beyond. Essential too is the environmental flux, its impact on the orange reflective material triggering everchanging shadows and shapes across its glossy surface.

EXHIBITION SPACE PROPOSAL ARTWORK DETAILS

Artwork No.4 Title: Orange Peel Description Orange Peel is a minimalist abstract 'relief object' composed of carefully constructed components comprising of narrow slits, designed to reveal hidden spaces behind the work. The work investigates vibrant colours, shapes, profiles, and placement. Orange the colour of choice was selected to enkindle a variety of emotional reactions and sensations. This effervescent colour inspires optimism and is intended to energise the work. Central to the work is the circle, a shape selected to draw the viewer in, signifying unity. It is anticipated that owing to environmental flux, shadows and shapes will emerge on and around the work.

Shapes consequential to the work will fluctuate depending on light levels.

Artwork No.5 - 7 Title: The Push & Pull of Triangles Description The Push & Pull of Triangles comprises of a limited materials palette. A composition embracing simple forms and playful colours. Fundamentally triangles shape the work but squares also feature due to the placement of the triangles. Shapes are cut from fleix-plywood due to its versatility. These shapes are connected at the mid-point only on the hypotenuse, thus affording the adjacent corners to freely warp. It was intended that environmental conditions would influence the level of distortion, however, to accelerate the outcome dowels were strategically placed between the triangles. Curiously, this intervention added another dynamic to the work and so were retained. Juxtaposing contorted shapes permit the background of the work to form part of the work. A scenario designed to draw the viewer in to inspect the work. Bright colour is utilised to communicate Liveliness in these 3-dimensional playful objects.

EXHIBITION SPACE PROPOSAL ARTWORK DETAILS

Artwork No.8 Title: Retroflex Description: Retroflex is a minimalist abstract 'relief object' that comprises of a number of components carefully constructed to reveal an elegant fluid profiled artwork. The solid background of the work contrasts dramatically with its more flexible profiled faรงade. The strong coloured orange background was selected to energise the work and to stimulate optimism. From the front view the bright orange colour subtly peeps through the horizontal slits between the wood veneer strips; these slits in turn transition the orange background with various shapes and shadows that result owing to the infusion of both natural and artificial light from its environment. It is from the side profile that the environmental shapes and shadows are revealed and enables the viewer to capture various other views of the space in which it is placed, thus adding a new dimension to the work. The work is an art of suggestion rather than expression, wholly dependent on the viewer to come to their own conclusion about the piece.

EXHIBITION SPACE PROPOSAL

OPTIONAL EXHIBITION SPACE PROPOSAL (work in progress - installation details still under review)

RELEVANTREADING READING MATERIAL RELEVANT MATERIAL

READING MATERIAL Specific Objects, Donald Judd. http://atc.berkeley.edu/201/readings/judd-so.pdf Shapes of Inhabitation: Painting in the expanded field, Mark Titmarsh. https://www.academia.edu/1576105/Shapes_of_inhabitation_Painting_in_the_expanded_field Painting in an expanded field, An interview with Laura Owens by Robert Enright Border Crossings, Issue 147, August 2018. https://bordercrossingsmag.com/article/painting-in-an-expanded-field Painting in the Expanded Field, Gustavo Fares, Lawrence University. p://www.janushead.org/7-2/Fares.pdf Painting Beside Itself, David Joselit. http://www.ocopy.net/wp-content/uploads/2016/04/joselit-david_painting-beside-itself.pdf A Comment On David Joselit’s Painting Beside Itself, 19 Augusti, 2011 | Jan RydÊn. https://janryden.wordpress.com/2011/08/19/a-comment-on-david-joselits-painting-beside-itself/

Rethinking Seriality in Minimalist Art Practices, Zhou, Y. H. (2015).

Canadian Social Science, 11(7), 148-154. http://www.cscanada.net/index.php/css/article/view/7277 DOI: http://dx.doi.org/10.3968/7277 Politics of Installation, Boris Groys (e-flux: Journal #02 - January 2009). https://www.e-flux.com/journal/02/68504/politics-of-installation/ Art School (Propositions for the 21st Century) Edited and with an introduction by Steven Henry Madoff, Chapter 4: Aesthetic Platforms Brendan D. Moran. https://epdf.pub/art-school.html Minimalism and After II Daimler Contemporary, Berlin February 14 - May 18, 2003 Renate Wiehager Foreword. https://art.daimler.com/media/2003_MaA-II_engl_22-5.pdf

Conceptual Art 1962-1969: Form the Aesthetic of Administration to the Critique of Institutions Benjamine H.D. Buchloh, October, Vol. 55 (Winter, 1990), pp. 105-143 (Jstor archive). http://www.professores.uff.br/ricardobasbaum/wp-content/uploads/sites/164/2019/04/1a_conceptual_art_1962_1969.pdf Materiality as the Basis for the Aesthetic Experience in Contemporary Art, Christian Murdoch Mills, The University of Montana, 2009. https://scholarworks.umt.edu/cgi/viewcontent.cgi?article=2308&context=etd Art and Architecture: A Place Between, Jane Rendell. http://www.janerendell.co.uk/wp-content/uploads/2009/03/Art-and-Architecture-prepublication.pdf Art of Perceptual Experience: Pure Abstraction and Ecstatic Minimalism by Alexandra_Munroe on April 4, 2009. Originally published in The Third Mind: American Artists Contemplate Asia, 1860–1989. © 2009 The Solomon R. Guggenheim Museum, New York. Used by permission. http://www.alexandramunroe.com/art-of-perceptual-experience-pure-abstraction-and-ecstatic-minimalism/ Painting Space Is the space of painting made by abstraction, illusion or the sculptural qualities of the canvas?

Frieze Magazine, Issue 6, 1st published in Issue 6, Autumn 201. https://frieze.com/article/painting-space Jesus Rafael Soto. http://www.sicardi.com/artists/jesus-rafael-soto The Value of Liveliness Painting as an Index of Agency in the New Economy, Isabelle Graw. http://s3.amazonaws.com/arenaattachments/2405937/320ac8ed044bb5e9431ffea5f619af17.pdf?1531168309 Grids, Rosalind Krauss, October, Vol 9, (Summer 1979), pg. 50-64 (Jstor archive). http://art.yale.edu/file_columns/0000/2996/krauss.pdf “Art and Objecthood” (1967), Michael Frie. http://atc.berkeley.edu/201/readings/FriedObjcthd.pdf “Art and Objecthood” (1967), Essays & Reviews, Shapes as Form, Michael Fz The University of Chicago Press. https://smartnightreadingroom.files.wordpress.com/2015/02/michael-fried-shape-as-form.pd

WallWorks Looks at the medium of the installation & the concept of an artist's edition.

Showcases a variety of different installation in various locations (opulent historic & contemporary / innovative spaces). 29 contemporary artists are referenced including Sol LeWitt, David Flavin, Frank Gehry etc. Including essays contextualising wall work

DaimlerChrysler Collection: February 2003, Minimalism and After II DaimlerChrysler AG and Renate Wiehager: Fascinating read looking at the seeds of minimal art and its effects, its origins and type of works that emerged including; sculpture, wall reliefs, paintings and drawings.

Abstraction: Looks at the revival of abstraction in contemporary art, exploring formal, economic and social abstraction strategies.

Colour After Klein: Explores the use of colour and provides an interesting insight into the emotional, conceptual and aesthetic significance of colour.

Abstract America: Provides an insight into the recent world of American abstract art from a gallery point of view, paying homage to 21st Centyry abstract artists.

Final Submission

Produced and Edited By Sinead McKillican

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4th Year Fine Art Painting