The applications of emerging manufacturing methods in aiding the removal of ornament and craft effort, and in elevating existing objects through new materialities is extremely interesting.
Kakukei reveals an image of a floating world with an elegant lightness of being. An orchid, framed oblivious, by the eight crisp planes that define its form. A conversation in textures, materialities, and translucencies; the glass arrangement suspends a layer of water to provide an osmose reservoir for its carer. The orchid spins gold from hard life, moving forth and toward the grand sky.
From the onset, and as a quirk of the Cuban-inspired prototyping method of assemblage, the final object is constructed of very few materials. The glass reservoir is constructed from a single piece of solid glass, and the internal chamber of only two pieces.
The hydrochomic coating is bonded to the outer surface of the Polylactide plastic pot. This streamlining of materials makes the object aesthetically minimalist, and easy to mass-produce.
Through Kakukei, I refine and give purpose to the sculptural forms of gone era; the octagonal vase a tradition within eastern Chinese and Japanese pottery, now re-birthed without ornament or the physical effort required in craft, for more individuals to experience.
Through utilising 3D-printed forms for mould-making, I was able to iterate rapidly in cast glass; a process traditionally very labour-intensive and heavily crafted now re-appropriated for an age of modern consumer culture. What results is form holding material properties unlike most others have seen or held, created in ways not imaginable much more than a decade ago.