In response to my work during SAC116 I began to explore shape and temporary form using soft materials. This previous practice had led to pictorial outcomes, using analogue methods of manipulation and shape generation. Semester two led to a change in medium as I began to use sculpture as an output within my work. The practice seeks to establish unpredictable tensions between shape and materiality, continuity and change.
A combination of digital and physical processes applied to three-dimensional forms followed. However, using regular shapes including quadrilaterals and triangles together with latex proved to be limiting. Being introduced to Evoshape facilitated a broader scope for the use of shape and form within my practice, giving me access to an abundance of irregular shapes. It has enabled the continued use of random shape generation and resulted in a range of distinctive outcomes. This digital method is an advancement of that used in previously, assisting a progression from last semesters work.
Characteristics such as curves and pointed protrusions combined with straightedges permit more varied outcomes. The work has the potential to rest balanced in a range of configurations, resulting in unstable and changeable sculptures. Such features also enable added points of interaction between the two chosen materials, the concrete shape and soft latex element.
Evoshape is a highly efficient method of shape generation, which permits large numbers of shapes to be rapidly generated, considered and utilised. By producing a large number of related shapes I was able to be selective regarding the shapes I developed. Although randomly generated, by selecting and grading the shapes I wished to ‘breed’ this enabled artist input and a certain level of control. Characteristics I favoured within a shape could be emphasised and bred into yet another generation.
Rather than working on shapes as three-dimensional forms, as presented within the Evoshape software, I chose to flatten them, considering each side, or orientation separately.
I have expanded my knowledge of CAD based software such as Evoshape, and recognised the potential these hold to be used within Fine Art, as well as its original intention to aid Product Design. Evoshape has been decidedly beneficial to my practice, leading to a series of outcomes using wood, print and concrete. Both manual and machine based processes have been used in response to Evoshape.
Difficulties faced in using the software have included accessibility and a lack of knowledge and experience using CAD programs. Due to the work commitments of the individuals involved and the limited distribution of the software using Evoshape on multiple occasions has proven difficult. However Ian Graham the creator of Evoshape and Abby Paterson have been very accommodating. I was able to use the software myself following a demonstration and induction, and have received direction throughout. During my first use of the software and further more recent access, I was able to generate usable shapes within short time frames. On selecting appropriate shape outcomes and entire generation these were saved and exported as jpegs, meaning I was able to continue to work on from the shapes in my studio.
Being in correspondence with individuals working within the Design School has also influenced the methods by which the sculptures are fabricated. I have been able to access the Water Jet Cutter, producing a refined, solid outcome from robust concrete. The final outcome will be a series of four shapes, each generated by Evoshape, flattened through a hand drawn process and translated back into a digital format to generate machine fabricated sculptural components. The way in which Evoshape presents full generations of shapes permits visual association and correlation between the selections of shapes. The four shapes to be presented in my degree show will all from the same generation. Consequently these will correspond to each other, communicating the method by which the works were made.
These atypical shapes seek to challenge the concretes material properties. Constructing these shapes as a border only, rather than solid concrete pieces means the resulting forms are often fragile rather than robust (McDonald, 2008/2009:20). Barely balanced, the non-fixed sculptural components show a potential for movement through visual tension.