Open task 2 - Rope Sculpture

Initial Ideas / Approaches​

• Transition to Sculpture - After developing a two-dimensional body of work earlier in my previous work and throughout the semester, I sought to pivot toward a sculptural exploration for this open task.

• This shift allowed me to engage with a new material and forms in a three-dimensional medium, deepening my artistic practice.

• Material Connection - Giving my ongoing interest in using string or rope, these are motifs I have explored throughout my studies in architecture and installation designs, I decided this would be a great opportunity to revisit the material.

• I ended up selecting macrame rope for it's versatility and tactile nature inspired me to investigate its potential for sculptural expression.

   

How I Developed This into My Final Work​​​

• Material choice - I purchased over a series of weeks up to 18 rolls of 6mm x 60m macrame rope, which would provide a robust material suited for exploring the materials capabilities.

• By cutting, knotting, and manipulating the material, I began to experiment with various forms and structures.

• Nostalgic Technique - Reflecting on childhood experiences, I recalled the popular trend of scoobie bracelets from back when I was in primary school around 13 years old. This nostalgic connection inspired me to incorporate a particular knotting technique from that era, transforming a playful memory into a personalised art expression.

• Mass production of forms - In the span of three or so weeks, using my knotting technique, I was able to produce approximately 200 long and short tendril/tentacle like forms.

• Eventually tying them all together to create a large, blob/alien-like structure reminiscent of marine life or reef-like organisms. 

• A second smaller organic form was created to stand along side the large organism as either a symbiotic organism or either an offspring.

• An organic approach to the development of the work that allowed for an exploration of shape and texture.

• Material utilisation - In a commitment to sustainability of materials used, I established a rule to utilise every piece of the macrame rope, whilst incorporating off-cuts and extras back into the final work.

• This decision added depth of layers to the work, creating a overall visual interest and reinforcing the theme of transformation.​

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What Went Well​

• Although I was not finished by the time of the group hang, the form I had created proved to be extremely flexible when it came to developing a displayed work.

• The available plinths and platforms offered within the studio space provided ample opportunities for experimentation, allowing me to play with the final composition and enhance and visual narrative.

• The inclusion of the off-cuts and extras served as an effective filler, connecting the explosive tendril form to its offspring, enriching the overall aesthetic and cohesion of the sculpture.​

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What Could Be Improved

• I underestimated the physical toll that this labor-intensive process would take on my hands. In future projects involving this material and method, I will prioritise the use of gloves to prevent blisters and skin damage, ensuring a more comfortable working experience.

• Additionally, I learned the importance of taking regular breaks and stretching my hands to mitigate muscle pain, which can obstruct and limit progress and work flow. ​

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Where could I Go From Here

• My initial concept was to create the larger form into a pillow-like form that audiences could engage with through play and manipulation. Completing this goal should be my first step, as it aligns with my initial intentions and invites viewer interaction.

• Feedback from discussions revealed that the unique manipulability and qualities of the sculpture hold infinite potential for exploration. I would like to delve further into this aspect, considering how the piece in its current condition can be experience and interacted with in various ways. Leading to potential in a video or film based artwork as part of this body of work.​