Latex and Resin

Thinking further about ways to preserve all the rusty objects and the idea that these had been encased in the mud at the base of the reservoirs for decades I began thinking about ways that we preserve sentimental items. Resin was an obvious choice to me for experimentation.

I began by making two moulds one from a house brick and the other from a cast iron water grid that I had acquired previously.

Once the moulds were made I missed the pouring resin and poured an initial layer into the brick mold before leaving to gellify. At this point I laid my sample rusty object in the Mold and poured the second layer before leaving for 24 hours to cure.

The water grid I simply cast in its own right as I feel this has conceptual meaning if it’s own and if replicated could infer the many households who continue to benefit from the reservoir waters.

Reflection

Some of the latex in the water grid stuck in the resin and has ripped the mold a little.

I could have done with using a wax releasing agent to ensure that the latex did not stick. Also if I’m thinking about replicating this many times a rubber mold would be a better option, possibly silicone.

Overall especially pleased with the effect and see potential with lighting from behind. Definitely would like to create repeated patterns with these.

The Wildling – Part 3

And so the making begins – armed with gaffa tape, Kitchen roll and cotton wool I begin by focussing on the gloves planned in The Wildling – Part 1

Wrapping the cotton wool in Kitchen roll and gaffa tape was a surprisingly quick and relaxing process.

Reflection

The Wildling – Part 2

Thinking about this idea of the Wildling and with time to kill on the train I spent my time using digital imagery to process my thoughts a bit and try and visualise more my intentions for the costume I’m about to make. Much excitement as that’s my next step forward.

Reflection

Citrasolv

The reason I am interested in looking at Image Transfer is due to the fact that there is a lot of archive material relating to the events surrounding the building of the reservoirs and the removal of the community that has potential to be distorted and used in this project. I am also keen to use Image Transfer with Fabrics as a way of adding more depth to the fabric pieces I envisage.

Prior to the course I had used the following Image Transfer processes.

  • Transferring inkjet printed images using water.
  • Transferring laser print images using Mod Podge.
  • Using T Shirt Transfer.

New Image Transfer Processes are:

  • Citrasolv Image Transfer for National Geographic pages and Laser Prints. Can be used to transfer photographic images onto fabric, paper, wood and other surfaces.
  • Poloroid Image Transfer, otherwise known as Emulsion Transfer where the emulsion from the poloroid is transferred onto another surface.

Citrasolv Image Transfer

I took a step away from overly thinking about my project and spent some time experimenting with Citrasolv (on Jonathan’s recommendation) What Fun!!! Having purchased a collection of second hand National Geographic magazines and waited patiently for the Citrasolv to arrive (3 weeks) I was ready to go.

It’s a messy job to be sure and the area has to be well ventilated – my whole house smelt of oranges. Latex gloves are a must as it can irritate the skin.

I set about identifying images I was interested in and soaking them in Citrasolv before leaving them ‘to cook’. The Citrasolv essentially dissolves the ink on the page. After some time text can be rubbed out.

Quite impressed with the results so far.

I then experimented a bit with laser print not so successful but had some interesting outcomes. The first – glossy photo paper and rubbed the Citrasolv into the ink.

Secondly I used the Citrasolv from the back to transfer onto paper and fabric.

Finally thinking along the lines that my art tablecloth is an evocative object in its own right hold lots of memories of work previously done. I produced these:

I’m going to try and identify a cheaper more accessible alternative as I really like this process.

Reflection

 

Bibliography

Citra Solv. (2019). Photo Transfer Tips — Citra Solv. [online] Available at: https://www.citrasolv.com/photo-transfer-tips [Accessed 13 May 2019].

Citra Solv. (2019). Image Transfers – 1. [online] Available at: https://www.citrasolv.com/image-transfers-1 [Accessed 13 May 2019].

Green Olive Arts. (2019). Citra Solv Image Transfer Tutorial – Green Olive Arts. [online] Available at: http://greenolivearts.com/citra-solv-image-transfer-tutorial/ [Accessed 13 May 2019].

Hackshaw, A. (2019). Making a Crown Part II: A Citrasolv Transfer onto Wood (A Tutorial). [online] Ashley Hackshaw / Lil Blue Boo. Available at: http://www.lilblueboo.com/2011/09/making-a-crown-part-ii-a-citrasolv-transfer-onto-wood-a-tutorial.html [Accessed 13 May 2019].

Lyrickinard.blogspot.ca. (2019). Citrasolv Photo Transfer Tutorial. [online] Available at: http://lyrickinard.blogspot.ca/2010/02/citrasolv-photo-transfer-tutorial.html [Accessed 13 May 2019].

Raquo, M. (2019). Fabric Printing With Citra-Solv. [online] Instructables. Available at: http://www.instructables.com/id/Fabric-Printing-with-Citra-Solv/ [Accessed 13 May 2019].

Snapguide. (2019). How to Transfer Images Using Citrasolv Natural Solvent. [online] Available at: https://snapguide.com/guides/transfer-images-using-citrasolv-natural-solvent/ [Accessed 13 May 2019].

The Quilting Company. (2019). Transfer Photo to Fabric: Tips for Using Citra Solv – Quilting Daily – The Quilting Company. [online] Available at: http://www.quiltingdaily.com/blog/transfer-photo-fabric-tips-using-citra-solv [Accessed 13 May 2019].

Thicketworks. (2019). Image Transfers on Leather. Quick. Ridiculously simple. Essential.. [online] Available at: http://thicketworks.com/image-transfers-on-leather/ [Accessed 13 May 2019].

The Wildling – Part 1

After my tutorial with Jonathan I felt really inspired to put some thought into making my wildling (tree stump) costume to be used in video footage.

I have two main ideas in terms of the footage:

  1. Shooting the footage on site including using drone footage (drone now purchased)
  2. Using a green screen and applying the new footage over existing footage – considering purchasing my own green screen materials given lack of local studios with this facility.

Either way before any of that can happen I need to have a Wildling costume.

I spent some time researching how people structure Comic-Con outfits, particularly as I had in my minds eye what I wanted to make and how I wanted it to look.

I knew I needed to use latex but didn’t really know how I was going to structure the roots of the costume.

To pull it all together I decided that the willing volunteer will need to wear a morph suit – either black for on site shooting or green for studio shoot.

So here I am with an idea for a latex suit – to make it easier I plan to make a mask, headwear – shoulder wear and gloves.

To give an authentic impression of the wildlings at Thruscross I plan to cast from bark – I’m lucky enough to have some amazing bark in my garden to cast from – and I intend to colour the latex dark brown.

  • Shoulder-wear: The shoulder-wear is going to be supported by a black vinyl waistcoat with oddly spaced roots around the shoulders. For each root I will use cotton wool at the core wrapped in kitchen towel and the gaffa tape before finally using latex to add the finishing touches.
  • Gloves: I have purchased some rubber gloves which I intend to make three roots per hand from using the same technique as the shoulder-wear.
  • Head-wear: I intend to sculpt a head piece casting the bark master in the garden before creating the latex copy. I intend to strengthen the latex with a wire mesh and mould the head piece so it blends with the shoulders.
  • Mask: This is currently a maybe as I’m not entirely sure it’s required.

Reflection

This is my current stage of thinking and I am sure as this progresses, my opinion will change. I think I’ve spent enough time thinking it through and feel its now time to put my thoughts into action.

It’s not often I actually draw anything any more so I really enjoyed sketching my plans for this. It reminded me that as a child I was always drawing designs for costumes so this is definitely something that has stayed with me through my life.

Rusting Objects

Having found several fragmented objects on my site visits I have been collecting lots of rusting household remnants such as hinges bolts and nails. All things that are akin to those objects I found. below is an example of the current state of the objects and what I hope to achieve.

I have rusted items quickly in the past with a view of making rust prints and I’m keen to use latex to acquire the rust from the objects.

So I sought out a solution called Rusty 3000 (I’m no chemist so this is probably the extent of my chemical experimentation) 16 oz of Hydrogen Peroxide, 2 oz of White Vinegar and a tablespoon of salt. Highly corrosive so rubber gloves were used.

I’ve made two solution baths and placed a door handle in a jam jar.

Below are photos from within the first few minutes.

I removed the door knob from the jam jar so not sure how effective this will be for the door knob in the long run.

After 1 day:

After 2 days:

Leaving it now for a week to let it cook.

Meanwhile I decided to take advantage of the rusty froth and make some prints too.

Reflection

This was a really successful exercise – the liquid was very caustic so I had to be extra careful and this scared me a little bit, however the end results were really good.

I learned that not everything rusts as well and additional things on the surface of the metal can hinder the process – paint for example.

I really liked the bit of video I recorded where I could see the interaction of the liquid with the object and definitely plan to investigate this further.

The greatest challenge would have to be not getting burned – I’m really clumsy at the best of times and working with a caustic liquid was difficult for me.

 

 

Fragments and Latex – Part 1 – Objects

While on my site visits I collect some fragments of buildings that had previously been underwater- only small rusty metal parts and broken pottery that most would overlook – however in these broken remains I see the life that these objects once had and the representation of the lost communities and the collective memories having become distorted – no longer like their original state – a metaphor for our own personal memories that become distorted over time.

I’m still experimenting with latex and wanted to see what objects I could produce that show the essence of the space that the object once inhabited.

So I decided to use the slate as a base for these objects – not my best idea in terms of a well thought out process yet I continued anyway.

Some of the objects were and immediate fail moving as I painted them – yet I managed to gain some success with this experiment.

The more successful ones after three coats I covered with fabric before adding an extra two coats.

Partly here I succumbed to my lack of patience and removed them the same day – with some success but overall pleased with the outcome.

What I particularly like is that the latex has really taken on remnants of the rust and dirt on the objects and that this has lead the imprints to become metaphorical in their own right.

The less successful ones I rescued and continued with a new experiment with ink jet paper in Fragments and Latex – Part 2 – Prints

Still to experiment with a pouring method.

Reflection

I began this work early in the morning and my head wasn’t really in the right space, so I struggled to get the objects to stay still on the slates and in fact this reduced the number of final objects completed.

I would definitely find a way of fixing these objects to the surface prior to painting the latex on and indeed plan to experiment with pouring latex around the object so as to fix them in place early on.

I definitely enjoy working with latex and like the way that it takes on rust and dirt from the object you are casting.

The overall effect I am happy with and I like the effect of the space that the object had inhabited creating the essence of negative space akin to the work of Rachel Whiteread where she casts the space around the objects of her attention.

The most tedious and challenging aspect of this work for me is waiting for it to dry enough to apply additional layers and then to finally cure. This really challenges my lack of patience.