{"id":4780,"date":"2019-11-20T15:21:02","date_gmt":"2019-11-20T15:21:02","guid":{"rendered":"https:\/\/artsnb.ca\/web\/?p=4780"},"modified":"2020-06-09T15:59:58","modified_gmt":"2020-06-09T15:59:58","slug":"material-exploration-alanna-baird","status":"publish","type":"post","link":"https:\/\/artsnb.ca\/web\/2019\/11\/material-exploration-alanna-baird\/","title":{"rendered":"Material Exploration – Alanna Baird"},"content":{"rendered":"\n

I applied for funding towards completing a new body of work in\nBronze for an exhibition as well as to continue explorations through new\ntechnologies, material and scale. I wanted to spend time developing a concept\nthat revolved around ceramic forms found in my past work in clay, reaching back\n30 years but involving new ideas. I have produced a series of wax cast forms <\/p>\n\n\n\n

I began this project by making molds from pottery forms that I\nthrew years ago, some as early as 1990. Traditional raku fired pottery which\nwas my trademark at that time. I poured sculpting wax into these molds to\nproduce copies of my pots, then began to deconstruct by piercing them with\nholes, letting light flow through and cast shadows. Using patterns found on Sea\nUrchins, tiny holes and bumps in regular patterns, I became absorbed by the\nabsence of the shell, intrigued by the light and shadows. And I have asked the\nfoundry to indulge me by continuing my deconstruction process through failures.\nBeing able to go there, to talk with the people who are taking your work the\nnext step, is critical. I have just delivered these wax forms to the foundry in\nQuebec for casting in bronze. They will need additional work – chasing,\ngrinding and patina when I get them back. This bronze work will be for the\nexhibition at the Saint John Art Centre in the fall of 2020 along with Ken\nWaiwood and Dick Klyver. I was able to visit two art casting bronze founderies\nin Inverness, PQ. and have much to think about as to where this project will go\nnext. The scale of what can be done is impressive. The time for completion is\nlong, and I will be patient. <\/p>\n\n\n\n

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Raku fired ceramic piece with blown glass lid (Jon Sawyer) and glass rod, c1990.<\/figcaption><\/figure>\n\n\n\n

A second part of this project was intended to work with scale, and technology. I wanted to see how using computer scanning and printing might impact my work. But I wanted to retain the hand mark of the maker, to not design using the computer. To use it as a tool to adjust scale, not to create. This is where I felt blocked. Scanning technology is not as accessible as printing technology. Most computer printed work has been designed on a screen, untouched by the hand. And sitting in front of a screen held no creative appeal to me. But it was because of researching this direction that I found a high tech, low tech solution that has sent me charging off in a completely new direction. This came in the form of a hand held, 3D printing pen. Removing the computer interface completely, and allowing a direct, hands on approach to a modern technology. These pens were designed as a result of frustration over 3D printers failings, missing bits during 14 hour print jobs that needed a restart. The computer operators just wanted to pull the print head out of the machine and fill in the void, a simple concept really. As a result, they have created a small, hand held device that extrudes melted plastic with tiny motors and various nozzles. A bit like a glue gun on steroids, but capable of a variety of materials, and fine detail. And best of all, in complete control of my hand, not a machine interface.<\/p>\n\n\n\n