A series of paper and paper and wood jewellery pieces developed by combining paper dying methods developed during cross cultural skill sharing project in Thailand in 2016 in Phrae and paper folding techniques that were refined from 2015 Parallel Practices residency.
The outcome of these two influences has been folded layered wearable paper structures using natural dyed laser cut paper, combining digital making processes with handmade techniques.
This group of new work has been exhibited at London Design Week at the London Design Fair as part of the Scottish Pavillion 2016 and SOFA Chicago 2016 with Hedone Gallery. A new series of 'Parallel Jewellery' paper pieces will be shown at the CODA Museum in the Netherlands as part of their annual paper art exhibition in 2017. More information can be found : http://www.coda-apeldoorn.nl/museum/
This group of work was one of the outcomes from the 2015 residency 'Parallel Practices', a cross disciplinary residency in partnership with Kings College London and the Craft Council. The project looked reformable and deformable structures explored through model making.
Using one folded paper element from the project, structural wall pieces and installation concepts were developed, creating flexible and movable screens made from laminated folded paper.
These pieces were exhibited as part of the Scottish Pavillion at London Design week in 2016. More information can be found about the exhibition through Craft Scotland's website www.craftscotland.org
New For OLD
At the beginning of 2016 I was involved in a project with the British Council to be part of a skill sharing exchange in the North of Thailand in Phrae. There were 4 designer maker that were based in Scotland and 8 designer makers that were based in Thailand.
We conducted workshops between our group of Thai and Scottish designers that all had different 3D practices that included lighting, furniture, ceramics as well as jewellery and approached design and making in a variety of ways using different materials.
The success of the residency and workshops as whole led a series of workshops at the Royal Botanic Gardens in Edinburgh in 2016 alongside our exhibition, ‘New for Old’.
This led to adopting new processes within a group of work, including natural dyes. These pieces are made from wrapped birch bark, tibetan cherry barck, paper and different native woods.
In 2016 I was commisioned by new design company 'hirta' to design a structure for them that would be used to promote their brand and showcase different designers work.
Hirta promote the best in Scottish Design and support new and emerging designers. Clients Bruce Bremner and Karen Anderson are architects and the brief was to design an innovative structure that was, sustainable, low cost, quick to assemble and take down and could be installed in a variety of different gallery and inside spaces.
A recycled larch movable and changing showcase was designed. The structure and will now tour Scotland in a variety of locations. This structure can be reconfigured in an infinate number of ways fitting into different spaces, changing form each time.
NEW FOR OLD RESIDENCY IN THAILAND
At the beginning of 2016 was involved in a project with the British Council to be part of a skill sharing exchange in the North of Thailand in Phrae between 4 designer maker that were based in Scotland and 8 designer makers that were based in Thailand.
We conducted a workshops that were engaging to the group of Thai and Scottish designers that all had different 3D practices that included lighting, furniture, ceramics as well as jewellery and approached design and making in a variety of ways using different materials.
The outcome was fascinating week of collaboration and the workshops enabled me to look at what I was doing in a new way as well as contribute to the groups working methods and how they could look and repetition, structures and making paper model making in their practices.
The success of the residency and workshops as whole led a series of workshops at the Royal Botanic Gardens in Edinburgh alongside our exhibition, ‘New for Old’. Alongside this I was also been invited by the British Council to speak at ‘10x10 Design Connections’ which is as a platform to showcase a selection of some of the best emerging design talent in the UK during London Design weeks.
In 2017 I have been commissioned by the British Council to return to Thailand to work with two exceptional Thai designers that work in bamboo and recycled metal. We are going to use the methods that I developed in the workshop of repetitious components to build a installation in December. We will also have workshops and work with local weavers as part of the project.
New For Old - residency in Thailand
The Project organised in collaboration with the Crafts Council and Kings College London set out to explore ways of controlling movement and the articulation of objects in order to build new structures whose functionality and manipulation would be framed and enriched by knowledge of soft robotics. Over a series of 6 months I worked in collaboration with book designer and lecturer Les Bicknell, Senior Informatics professor Dr Thrishantha Nanayakkara to look at how model making could explore and inform new ways of thinking in soft robots. As part of project, ‘Parallel Practices’ we organised workshops with PhD students, working to explore structural memory in deformable objects. The aim of the workshops at the end of the project was present the research, show different working practices and see how students could approach their own research from a different view point and use making as part of their projects. It was important to also narrow down the research that connected soft robotics and the need to use the same vocabulary to communicate ideas and concepts clearly. A vocabulary map was made in order to narrow down the movements that were exploring were, deform / reform. Then hundreds of paper maquettes were made prior to the workshop. These collapsible structures and told a story of progression and development in the ways that movement could be explored. The workshops had three parts; Presentations, learning through making and making and exploring using the paper maquetees. We both presented our design practices, showing working examples, images of studios and tools that were used and explained the market place for the work and how were also worked collaboratively. Questions were encouraged as the PhD students began to relate their practices and research to what we were doing and considered how making physical models in their work could be beneficial. It was important that we were not attempting to provide the answers but discussing and looking at research with different viewpoints and starting positions. The outcome was a very positive experience, working with Les Bicknell who is experienced senior lecturer gave me insights and to further how teaching can be approached in an innovative way. The workshops gave a real insight into how we consider design in different disciplines. The students were really engaged and I had awareness that knowledge should not be assumed and as some students that had experience with origami in robotics but others to whom it was a new concept and therefore the material needed to be adjusted to all students in order to maintain interest. Some of the models were taken away by the students as they wanted to work out the maths behind the movements in the collapsible structures and possibly think about incorporating into their projects.
The reseach from this project has informed new processes and ways of considering making and 'Paper Structures'. Working on a different scale to produce wall pieces and techniques for installations.
Jewellery is used to reveal the landscape of the body. The structural and precise pieces investigate how volumes, patterns, planes and forms that surround the surface of the skin are seen. They look organic because of the choice of materials used and the combinations of influences, which is an interesting contrast because of the technology and processes. Architectural methodologies and drawing conventions are juxtaposed with qualities generated from drawings of wood and rock formations and contour maps, as well as the contours of the body.
The relationship between the body, objects and the spaces that surround them are investigated by producing jewellery related objects that relate to the surface of the skin on and off the body. The works are ‘Wearable Drawings’ and planes and cross sections are used to suggest forms and capture volumes, transforming 2D surfaces into 3D objects. Volumes and scale are important, as external and internal forms and patterns are revealed in the pieces with movement. When worn the jewellery has a synchronicity with the wearer as it relates, outlines and reshapes profiles. The process involves hand drawings of the body, exploring the surface of the skin, as well as 3D body scans and casting volumes, capturing movements. Woods, paints, textiles and metals are used to highlight the forms and draw attention to areas of the body, with a combination of CAD and by hand. The culmination of this approach is important and so are iterations, refining how the piece moves when it is worn