Last week in class I made a second round of thermochromic bioplastics samples with higher glycerin content. I am not entirely confident they will produce usable samples as I accidentally poured them at a greater thickness than I intended which will affect the structural integrity.
I have been refining my bioplastic recipes this week trying to achieve a certain level of structure in the material. I determined a suitable ratio of gelatin to glycerin and began the addition of the thermochromic pigment.
Last week after we gave our presentations I was brain storming with some of the class about what forms my plastics could take shape, given an obstacle I have come upon for something that is both thermochromic and wearable. The obstacle being, if the item is worn and thus makes contact with the skin, it will be at a constant state of colour change and no transition will transpire.
Okay, I will attempt to recount what I learnt in this amazing mind-blowing workshop! Please have mercy and feel free to correct me in the comments should I write anything incorrectly (I’m trying!)
During the pandemic I thought a lot about how touch was at risk of becoming stigmatized due to the spread of COVID-19. Much of my personal practice focuses on touch that manifests as interactive works (soft plush sculptures, thermochromic prints, etc). In light of COVID-19, my work investigating touch and how we form relationships developed a new sense of urgency. How can we memorialize physical contact (a fundamental part of the human experience) in a time when touch is at risk of becoming stigmatized?
This week for our workshop we worked with Laura again (this time in the flesh!) to bring our AdaCAD drafts to life on the TC2 loom. It was quite remarkable how much the drafts varied from the results created by the loom.
For the second part of class we did a workshop working with Laura Devendorf’s and her software AdaCAD. AdaCAD is an amazing piece of software that helped me better understand the binaries of weaving and its relationship to computers and code (it’s absolute poetry).
For my next two entries I will break dow the posts into 2 parts. Part 1 will discuss my experience on the loom and discussions on the readings in class; part 2 will be an account of the workshop working with Laura Devendorf’s and her software AdaCAD.
This week we had a workshop hosted by our guest Mary Smull about weaving in greater depth. Mary taught us about the technical vernacular of weaving, some of the history of weaving and the methodology of both physically weaving and creating draft patterns. Weaving, weaving, weaving!
I began with Generative Algorithms by Zubin Khabazi, which intitally seemed consumable for my level of knowledge but after the first section that discusses the basic structural principles of weaving (‘systematic interlocking of two or more elements to form a structure’), I began to feel out of my depth. I have a feeling this will be a reading that I revisit at some point in the future of this course with a greater understanding!