IM-PERFECT VOL.02

Craft Project / Ian Jia, Apr. – Jun. 2023

- 'ARE THERE OTHER, MORE ENVIRONMENTALLY FRIENDLY AND VARIED MATERIALS THAT CAN BE COMBINED WITH WOOD?'

In my previous projects, when it came to filling cracks in the wood or addressing waney edges, my go-to material has always been epoxy resin. However, I have become increasingly aware of the environmental impact associated with epoxy resin and started contemplating alternatives. I have been exploring the possibility of combining it with a new material that is more eco-friendly for filling purposes. By doing so, not only can I contribute to environmental protection, but I can also introduce unique colors or textures that enhance the distinctiveness of the object itself.

- 'HOW CAN I BETTER EXPRESS THE FEELING OF SCABBING?'

The primary components that define a scab are its irregular shape and uneven surface. To capture these characteristics, I aim to employ various techniques to achieve distinct surface textures. When it comes to materials, I will explore their connection to the concept of crusting and investigate the potential for utilizing novel materials not only for surface textures but also for additional functions beyond filling.

EMBRACING MATERIAL SURFACE IMPERF- ECTIONS

My primary focus will be on the initial two steps, which involve aligning the material defects with the theme of natural imperfections. Additionally, I intend to preserve certain inherent natural elements of the material. Regarding the making process, I aim to emphasize certain textures that can effectively convey the desired aesthetic. However, achieving a harmonious integration of controlled textures with the unpredictable, natural ones will require careful attention during the making process.

"RANDOM UNEVEN UNSTRUCTURED"

Source: Pedgley, O., Şener, B., Lilley, D., & Bridgens, B. (2018). Embracing material surface imperfections in product design. International Journal of Design, 12(3), 21-33.

ARTIST RESEARCH : PETER MARIGOLD

The surface textures in Peter Marigold’s designs greatly inspire me. He skillfully combines regular geometric shapes with organic textures, creating a captivating contrast between order and randomness. His approach resonates with my own exploration of textures. Additionally, Marigold’s spine wall work, while different from my direction, intriguingly captures the texture of human skin, showcasing his ability to evoke tactile sensations through design.

ARTIST RESEARCH : BOYAN MOSKOV

His work is predominantly ceramic and his surface design is aesthetic and functional, with the most defining feature being an aged, historical surface texture. I was inspired by his natural, organic expression and the similarity of this surface texture to the theme of crusting that I wanted to express.

8 Bowl with metallic rim, 8 in. (20 cm) in height, wheel-thrown stoneware, altered, oxides, metallic glaze, fired to cone 6 in an electric kiln.

7 Wall platter, 24 in. (61 cm) in diameter, wheel-thrown stoneware, cut and reassembled, oxides, metallic glaze, fired to cone 6 in an electric kiln.

1 Jar with red graphics, 11 in. (28 cm) in height, wheel-thrown and altered stoneware, oxides, metallic and red glazes, fired to cone 6 in an electric kiln.

ARTIST RESEARCH : JACKSON POLLOCK

At the conclusion of World War II, artists belonging to the Abstract Expressionist movement pioneered action paintings. Utilizing a diverse range of tools, including sticks and hardened brushes, they immersed these instruments into paint and engaged their bodies in dynamic movements, enabling the paint to form spontaneous splashes, puddles, and even threads. The assortment of tools employed and the serendipitous patterns that emerged fascinated me. I observed a rhythmic quality unfolding within the seemingly chaotic arrangements of these completed works, akin to the harmonies found in music. This led me to ponder whether this captivating sense of randomness could be applied to the surface textures I sought to create.

ARTIST RESEARCH : JAMES SHAW

His well-known chair pieces are crafted from recycled wood shavings, and I find myself captivated by the intricate textures he achieves. Instead of intentionally manipulating the textures through reworking, Shaw embraces the inherent qualities of the eco-friendly materials, allowing the stacking and layering to create textures organically. Despite their simple inverted forms, it is the remarkable texture of the materials that lends these pieces their extraordinary appeal.

all images © petr krejci / courtesy of marjan van aubel.
https://www.designboom.com/design/waste-wood-and-bio-resin-chair-by-marjan-van-aubel-jamie-shaw/

Typology

This typology represents an exploration of various examples that correspond to the aforementioned ideas. I have classified them into shapes and surface textures, building upon the concepts developed in the initial typology. Within the previously mentioned crust theme, the prominent characteristic is the distinctive surface. I discovered numerous surface textures that could effectively embody this idea. The image also highlights the theme’s relevance across both categories, resonating with the overarching title of the Imperfect Elements project.

IDEATION

I started by planning out the general shape I needed to turn so that the texture would fit the shape better. At the same time, I planned out the approximate dimensions of the texture so that I could carve it later. Finally I then analysed the crusted textures mentioned in the research above, extracted their structural lines and then roughly drew the textures I was going to carve.

Making process 1

The first one I mixed wood ash with bio-resin, and at the same time expressed the feeling of a “scab feeling” texture by engraving with an engraving pen.

Making process 2

The second one is based on wood ash, with the addition of sawdust recycled from the workshop, which I mixed with bioresin at the same time. For the texture, I borrowed the “action painting” method, and tried to create a more random “scab” texture effect by using different tools, flinging, dripping and scraping.