- This is a sheet of stainless steel that I hammered and bent last term, I removed the plastic packing and exposed the most shiny side.
- I then traced where I wanted the cut-outs to be, through the process of seeing where the light reflects the lines in the material.
Cutting
Placement on board:
Comparing it to the aluminium - stainless steel works so much better
Reflections/ Further Development:
- I placed the stainless steel so it was in conversation with the paint on the board. The steel was placed in areas of 'void' relating back to Anish Kapoor's 'void' and previous research.
- I added and took away steel from the board depending on how the balance worked, it has to be aesthetically pleasing to me as well as the viewer.
- The bumps from the hammer marks on the steel really remind me of the heat distortions formed with my mild steel piece, both are displayed below:
Mild steel texture and detail created through heat/ welding
Stainless steel, lines curves and bumps through hammering
- Feedback received from peers: this works better than the aluminium.
- Keep the burn marks on them, don't file them too much as this would go more with your other work like the mild steel one you're welding.
Placement/ Context:
- Thinking about gallery placement: The context for this piece would have to be either on the floor under direct lighting so that it reflects the stainless steel, or by a window. I prefer the floor option as the pallet I painted this on connects with the floor more, and connects to being a 'plinth', thus mixing sculpture language with painting.
Other Development:
- I really like the stainless steel left over from the cut-outs, it could be its own piece. Here (above) I have experimented with standing it up against the wall of the studio.
- If I had more money I would buy a large piece of stainless steel and create cut outs like this and hang it.
- Bending the steel around the plinth painting, using it more as a plinth.
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