Embedded Triangle

Catch up post from 2016, Embedded Triangle Design


Test installation in the Art Building Foyer, Oct 2016

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Studies of Scale, pt2

Experiment 3, Moving towards complexity…

Aim: to add more elements without compromising the overall aesthetic.

Awareness of; starting points when joining structures (as determines curvature & can cause kinks/deformation)

Size, length & density of tubes in relation to layers


3mm, 2 of 4 layers


3mm & 4mm layers, 5 of 8 sides


3mm & 4mm layers, 7 of 8 sides, Left: the free-standing form, Right: underside of form

3mm, 4mm & 6mm layers, 10 of 12 sides


3mm, 4mm & 6mm layers, 11 of 12 sides, Free-standing height of approx 30cm

Notes: No colour shift within the dispersal section allows for the form of these sections to aesthetically merge into one another.


3mm, 4mm & 6mm layers, 11 of 12 sides, Free-standing height of approx 30cm
Left: front-view, Right: side-view


3mm, 4mm & 6mm layers, 11 of 12 sides, Flattened, Top-down view


3mm, 4mm & 6mm layers, 12 of 12 sides, Top-down view


3mm, 4mm & 6mm layers, 12 of 12 sides, Side-views, Approx. 30cm free-standing height






Studio View, University of Newcastle, Mon, April 18th, 2016

Studies of Scale, pt 1

Notes on studio practice, exploring architectural ‘form-finding’ experiments & scaling.

Questions: What is the relationship between hook size and thread density? How does it impact upon the aesthetic of the form and it’s structural integrity?

Experiment 1;




Radius of 12, Hexagonal Division Prism

Construction begins from the centre and moves outwards as larger layers are woven and incorporated into the structure. The design is self similar as it moves from one scale to the next, however the centre piece is inverted to show what the ‘underside’ of the outer form might look like. During the construction of the centre piece, the form was initally self-standing and became morphed (and in some respects de-formed) from the addition of outer layers. Notably the 2nd, outer devision of the 2nd internal layer pulled the previously freestanding upward centre chords towards the back of the structure. Variables such as the length of the chord between the layers, along with the staring and ending points for the logarithmic spiral constructions (I sometimes refer to these as ‘pannels’) are factors which effect this morphing of the ‘final’ structure.

These elements pertaining to the relationships between aspects of self-similar crocheted froms has lead to a further detailed study which attempts to mitigate these factors. The observations are subtle progressions towards a better understanding of the material language of the practice. This knowledge will in turn inform material studies on larger scales as I continue to adapt structural designs for large-scale applications.



Colour & Affect

What effect does the cerebral material with which my mind engages while i work have upon the practice? In the case of Carapace, the colours are inspired by a particularly visceral scene in “Words of Radiance” by Brandon Sanderson, describing a chasm creature’s thick shell scraping against rocks. The word “carapace” was interesting to me and after some googling I found myself looking at crab shells. I started to think about the tension, or maybe irony, in depicting a “shell” or “carapace” – which is a hard thing – in a soft material. I decided to apply the concept within the work, echoing the concept of a fleshy centre and hard outer shell in the colours & (to some extent) textures of the work.

*Note. To ensure as much ‘sameness’ in these ‘self-similar’ forms as possible colour continuity is of primary importance. As a result factors of colour availability are taken into account when determining gradients. If there is not enough of a material to be used x times over throughout the different panels, then i will re-engineer the colour pallet.
Experiment 2:

Prism Abstractions



Sample Study 1:


2.5mm hook, 12 nodes, Tetrahedron/Equilateral Triangle division.


Sample Study 2:


2.5mm hook, Open Cube Construction, 5 of 6 sides



2.5mm hook, Closed Cube Construction, 6 of 6 sides



2.5mm & 3.5mm layers, Closed/Open Cube Construction, 8/12 sides




2.5mm & 3.5mm layers, Closed/Open Cube Construction, 9/12 sides




Sample Study 3:

Tetrahedron/Cube Abstraction


2mm & 3mm layers, Tetrahedron division embedded within Cube division

Texture aims to emulate ‘shininess’ coming out of the ‘fuzzyness’

Thicker tubes leads to immediate increase in structural stability

Interesting to observe how the size of the tube sits in relation to the dispersal point and dispersion radius.

Dispersion radius determines how internal section sits, for example whether the components are pulled inwards or outwards from the centre.





Sample Study 4:


2mm construction, tetrahedron division



Sample Study 4 embedded in Sample Study 1


Sample Study 5:


3mm, 4mm & 6mm layers, Cube Division





Joana Vasconcelos

“The nature of Joana Vasconcelos’ creative process is based on the appropriation, decontextualisation and subversion of pre-existent objects and everyday realities. Sculptures and installations, which are revealing of an acute sense of scale and mastery of colour, as well as the recourse to performances and video or photographic records, all combine in the materialization of concepts which challenge the pre-arranged routines of the quotidian. Starting out from ingenious operations of displacement, a reminiscence of the ready-made and the grammars of Nouveau Réalisme and pop, the artist offers us a complicit vision, but one which is at the same time critical of contemporary society and the several features which serve the enunciations of collective identity, especially those that concern the status of women, class distinction or national identity. From this process there derives a speech which is attentive to contemporary idiosyncrasies, where the dichotomies of hand-crafted/industrial, private/public, tradition/modernity and popular culture/erudite culture are imbued with affinities that are apt to renovate the usual fluxes of signification which are characteristic of contemporaneity.”

Via the Artist’s website





Piano Dentelle, 2008-2011

Steingraeber & Söhne baby grand piano, piano stool, handmade cotton crochet

100 x 150 x 206 cm

A grand piano and the stool which accompanies it are harmoniously covered with delicate crochet-work, with an almost kinetic and psychedelic effect, reflecting and reinterpreting, in the light of contemporaneity, concepts and practices which have fallen out of use. The use of a traditionally feminine work technique in the action of protecting, decorating and covering the whole of a musical instrument surpasses old-fashioned concepts and affirms the validity of the meeting between the traditional and the contemporary, the popular and the erudite.


via the artist’s website 




MARILYN (PA), 2011

Stainless steel pans and lids, concrete
(2x) 290 x 157 x 410 cm


The Hall of Mirrors, where sumptuous ceremonies and important events in the history of France were staged, hosts Marilyn, an elegant pair of high-heeled sandals, whose enlarged scale results from the repeated use of stainless steel pans and lids.

Verging toward gigantism, this accumulation creates a Gulliver effect, making the work stand in this vast hall as an ode to womens’ achievements both on the public and private spheres. The stainless steel in Marilyn – resistant like the armours of the warriors who fought in the Dutch War (1672-1678) and in the War of Devolution (1667-1668), Charles Le Brun’s subject matters for his ceiling paintings and medallions – and the mirrors that decorate the arcade team up in a disconcerting game of reflections, multiplying the space ad infinitum.

Positioned at the south end of Hall of Mirrors, the monumental pair of sandals refers the visitor to the accomplishments of the absent female figure, as grandiose as the glories celebrated by Louis XIV through the paintings of Le Brun, now reflected on Marilyn’s cold metallic surface.


via Seomi 





2014, Machester Art Gallery via Port Magazine



2014, Machester Art Gallery via Port Magazine

“On the north wall of a large room, on the first floor of Manchester Art Gallery,hangs ‘The Sirens and Ulysses’ (1837) by William Etty. It’s a large-scale nude, classic in every sense of the word. Adjacent to it sits an enormous, multi-coloured crochet breast (‘Big Booby #2’, 2011), inspired by ‘Allo! ‘Allo!, the risqué British sitcom set in Nazi-occupied France. “I Love ‘Allo! ‘Allo! says the latter’s creator Joana Vasconcelos. “They’re always trying to find ‘the Madonna with the big boobies’. This is my big booby. Finally I’ve found the right place to show it.”Time Machine, the new exhibition by the Portuguese artist, her largest in the UK to date, is full of these juxtapositions. Through the use of traditional Portuguese techniques and materials – crochet, lace, ceramics – she seeks to debunk the rigid pomposity of fine art, creating informal public art spaces. Contaminate is a dirty word, it conjures images of beef burgers minus the beef, or jars of dubious-looking drinking water scooped from murky rivers in developing countries, but that’s what she does.”




A Noiva (The Bride) by Portuguese artist Joana Vasconcelos, Venice Biennale 2005

The Bride is one of her most famous works. Taking the form of an 18th-century candelabra, it is made entirely of white tampons. Five meters high and over two meters in diameter.