Definitely liked this work more than the one I showed in Bournemouth. This one seems more fluid in both material and scale. We decided against the use of the blue tinted water because the focus was placed on the central flower. All the water weights and rope tightness pulls together to join reality and the line drawing if balance is changed within the work.  Audience did play with the work – they seemed interested in the weight of the bags. People aren’t usually interacting with water in this way and so forget how heavy it is in liquid form.

It went so well! An absolutely perfect merge of two concepts into one solid work.

Initally I was going to re-create the work from the Bournemouth degree show, however once I got there inspiration took over and a collaboration idea formed. Thankfully! Siobhan and I used aspects from both of our work and combined it perfectly.

 Quite hard to capture the entire piece as a whole in a photograph. Siobhan and I used my concept of weight and balance alongside her use of line drawing and spacial awareness.

This is the outcome for the final work. All aspects worked very well considering I had to battle with the weights of the water bags. Used fixings at each of the smaller bags joining points- this restricted the movement of the bags down the central line.  I attached barton blocks to the ceiling – this was my anchor point to suspend the work away from walls.

As I completed the work, I pulled away from the more symmetrical aspect on each of the rope sides and attempted to create balance with opposing weights at different intervals. I wanted to have one side of the curve jarringly sharp contradicting the more sloped curve on the other side.

Form works due to the anchor points. In some of the works- Ludwika uses contradicting materials. Metal/Glass- cold and heavy versus the light/transparent/delicate characteristics of the stretching film. Fragility is very important here- as in my current work…

If a bag breaks, then equilibrium is no longer apparent. All aspects within my work rely on each other for sustainability. The weight creates the work and therefore the destruction of the bags causes the destruction of the piece.

The general audience’s view is that water is blue- due to pools/oceans and drinking water bottles’ colouring. Companies use the tinted bottles to appeal to consumers- making the water seem even more water-like, even more clean. I decided to attempt to pursue this common misconception by dying the water in my plastic bags blue.

Testing colour densities. I didn’t want the bags to be very dark- I chose to keep to a lighter shade. I wanted the colour to be subtle rather than obvious and deep. The lighter shade mimics the blue of the drinking water bottles- pulling the audiences subconscious into realising its water immediately.

The concept of using a singluar curve is simplistic in form, yet when all the additional aspects are introduced within the work (tainted water, plastic water weights, weighted centre, larger weights situated at either end of the work and the block and tackle) create another dynamic.

Central anchor point with two water bags for weights at either end. This was the beginning point- after this I had to balance the central weights  leading towards the screw eye anchor point.

Tomas Saraceno at the Venice Biennale 2009.

I liked the anchor points and the countless elastic cords that were used to create form. Tomas Saraceno also focuses upon the creation of spiders webs and so this pulled my interest deeper.

The water being used as a weight brought forward many other options. I was tempted by the use of water within a plastic sheet surrounded by weights to hold the water suspended in the centre.

I felt the expanding foam/net lacked form. I had previously attempted to search for a higher meaning to my work through material use. I used Antonio Gaudi and his work with the Sagrada Familia. I found the use of sand bags and line to create the foundations for the structure/architecture of the Sagrada Familia very interesting. This was using anchor points of the strings, the length of the strongs and the weights attached to them to create the ceiling archs within the church. This lead my interest in the Caternary Curve- also known as the ‘perfect curve’.

Antonio Gaudi – The construction plan for the Sagrada Familia in Barcelona.

I decided to simplify the idea of using multiple curves to using one single line. I attemped to create the curve focusing on specific anchor points and weight. I decided to go back to using water as a weight. Water is quite unpredictable in its own right, yet in Japanese stories and culture water is known as the strongest element. Water is powerful, it can wash away fire, earth and destroy metal.

This was a quick test to determine how the water/weight/anchor point work could be successful as a larger piece.

Wanted to experiment with another material- next being bread dough. I wanted to see whether the fluditiy of the dough allowed for a similar growth within the netting as the yeast reacted with the oxygen. Due to the mixtures content and more liquid characteristics the dough quickly fell through the netting without holding form. The dough was therefore slightly unsuccessful in this instance.

Even though I felt the dough didn’t work the way I envisioned, I found it to create quite an interesting slow moving process- reminding me of the expanding foam.