The results of the resin.
Resin Sample 1: the wire meshed heart.
This was disappointing, in my avidness for this to be a successful glass heart I failed because I added too much catalyst and the resin became so hot that the cling film shrunk and fused to the base. It was a hot day, to be kind, but to be fair I put in too much catalyst due to my determination to make it set.
I have been able to remove slithers of clingfilm but it has been laborious and thankless. But in the top right hand picture there is a glimpse of how this could work if a put in a very small amount of catalyst aiming for a slow set – there is the bulge and puckering of liquid held in a plastic bag – if I were to repeat this experiment this is what I would aim for next time. the other effect that has some potential is where the resin has sheered due to it getting very hot very quickly next to the wire in the base. It has sheered within the girds like fingernails and this has broken up the reflection and distortion within the clear resin in a very dynamic way allowing the sample to carry other colours within by virtue of a reflection of its surrounding on different angles.
R. Sample 2:
This sample has the most potential and visual impact. I love the result. The bending and twisting of the rippled form of the bottle has created a lot of movement in the overall form of the sample. The sample got very hot and the 3d writing melted within the resin causing it to form tadpole like ticks and the writing rose to the surface. Again, with less catalyst I could slow down the setting and reduce the heat so the writing could be more evenly distributed within the form and the letters would be less likely to distort. However, looking back on the work of Koester there is something that speaks louder to me of s script that has transformed itself into a vital and energetic moment of its message. I chose ‘Windhover’ after catching sight of a pair of Marsh Harriers hunting locally, watching them whirl and dive and how intricate their moves were and how poised and perfectly in tune they were with their environment and each other. This recalled Hopkins development of Duns Scotus’s philosophies. Hopkins aims to find the most perfect words and images to present the ‘inscape’ of observing the ‘instress’ of a particular thing. The ‘instress’ being the absolute authentic expression fo the creature , which Hopkins attributed to being the expression of the god within – the instress being the demonstration of the idea the creator had of the very being observes. The ‘inscape’ is the process of the instress forming in the memory, imagination and experience of the audience. The 3d written version of the poem has been transformed by heat into something so much more than letters and text and become it own original langauge and expression – it has instressed itself!
This work offers me many many days of sketching and observing:
I love the breaks and sheers in the resin where it has got too hot – these make a far more exciting surface for me:
I could look and look and look again at this sample. This is worth sitting with for a while.
As for the other samples that used less catalyst and therefore got less hot and worked more ‘perfectly’ though in a less visually exciting way for me:
R. Sample 3:
This sample worked: the resin is clear and uncracked. The seed heads have been perfectly preserved. It is accurate use of process – but that is it – it has no life or spirit.
R. Sample 4:
I am interested to note that the paper retained a scrunched form and the text didn’t bleed or distort – this offers another potential material to explore within resin. Again, this sample has ‘worked’ it has picked up the inner shape and surface – but it is a sample for process rather than feeling.
This has some flaws and some perfect cast of the inner space (for example the details that has been picked up from the cap). However, there is some potential as can be seen in the following shot, for using cut pressed flower heads to create an almost geological result:
This is worth reflecting on further to decide where next.
All the samples together show the range of shapes and size that I have played with using 1kg of resin. I am pleased that soe of my ‘mistakes’ with he technique have created some very pleasing results and since I know what I did ‘wrong’ it is possible that I could purposefully repeat this!
What didn’t work and I hated the feel of it and the lack of details was my wax sample.
Wax Sample 1:
It could be the quality or property of the candle that I melted, but I think to repeat this I need to read up on the technique a little more!
One last look at Resin Sample 2:
Now what could this say? What might it say to another? How could I use it?