I have selected the location of where to exhibit my sculpture very carefully. I needed to attach my sculpture to the ceiling in order to obtain the required amount of tension in the pipes to maintain its circular form. I chose an exhibition space with a high ceiling and overhead beams and built the sculpture to fit the space, enabling fishing line to be tied around the beams to help support it.
I am going to make the rings of my sculpture out of white plastic pipe and screw in a series of hooks at 2cm intervals to attach the thread. I am going to fashion wooden pegs to connect the pipes together that follow the angle of the curve.
When I did bent the pipes into a circle the curve of the wooden pegs caused a gap to be created between the pieces of pipe so I had to recreate the pegs out of metal in order for the join to be streamline. This resulted in a complicated process of sandblasting, grinding, sanding, lubricating, rapid heating and cooling and pressure. To fix the pipes onto the base I created metal pegs which I then flattened and angled to the correct degree of the curve and then bolted to the base boards.
To allow the focus of the sculpture to be on the design of the threads rather than the architectural structure, I have painted the form white so that it blends in with the white walls of its surrounding.
Tamar Frank’s key media is coloured lights. In her recent piece ‘A thin line between space and matter’, she used phosphorescent threads to highlight detail created. The phosphorescent threads absorb light energy that is emitted slowly. This creates a colourful architectural form both delicate and intricate. The inspiration for this piece came from the shapes and spaces created by the interior of the exhibiting building. I find this architectural detail is mirrored by the medium, which offers an intensity of colour, obtained from light energy, which transcends with the darkness. This same delicacy of form has been created in Modernist works by the constructivist Naum Gabo.
I found Dawe’s work very similar to my own ideas for my sculpture. Both large-scale sculptures are produced by the intricate layout of thousands of metres of thread. One difference is that I don’t plan to use a series of different coloured threads. The focus of my sculpture is on the design created by the threads so multiple colours would detract from this whereas Dawe’s focus is on the creation of a wall of an array of colour. The use of numerous threads from each hook to gives his structure a solid appearance which is rather inspiring. I may try to incorporate a similar technique between the entrance and exit archway so that it creates an enclosed feeling within the tunnel.
“Introducing Gabriel Dawe” – Plexus No. 10: Materialising the Structure of Light.
Gabriel Dawe’s large-scale structures using a network of threads shows the spectrum of colours visible when a ray of white light is shone through a prism. I found his installation rather inviting as you walked through the guided paths of disorienting colour and line. Dawe’s use of thread within his work is very controversal as it rebels against the traditional perceptions of “women’s work”.
I had a feeling of peace and serenity as I walked through Dawe’s exhibition. The smooth flowing lines created by the threads made it a very tranquil environment.