20/01 – 26/01

Objects are just atoms which we have aligned and bestowed a purpose or meaning into. The sentiment comes only from the idea of the object. Therefore reproduction of an object can be seen to possess or not possess the sentimental value based on the beholders perspective or belief.


Cremating Objects and pouring them into vessels (to preserve their atoms)

Negative space of objects (inspired by Rachel Whiteread)

Illusionary Forms of Nostalgia (akin to resonance home)

Objects Blurred Together (like teapot head)

Looking through other animals senses (as reproduced space live, eg cuttlefish)


Machine Learning

3D Modelling

Grand Perspective


Sound Production

3D Printing


Unity App Creation



Following on from these ideas I wanted to create another uncanny object whilst also beginning to consider the Rachel Whiteread approach to negative space. I created this figit toy mixed with eating device as something incredibly odd looking to us, but also as something which in a sense could be used unlike the completely subconscious one i designed before.

I then decided that I wanted to actually turn this object into something physical which you can see above and below. It works as a functioning object but also looks incredibly odd. This got me thinking about reproduction and time as an element of it. Just 5 years ago this object would have looked completely crazy, yet now we associate it with so many things. If this were to be found in the future in any form, would its use be misinterpreted.

Taking this thought forward, and looking at the past pieces I had made became very poignant. I realised that I had created so many of these especially odd objects which I could turn into these negative objects which I had been thinking about. They could become fossils, physically removing them to a much greater degree from their digital origins. I’ve taken a mixture of incredibly distorted objects and began to form them into a collection. Many of them link to very metaphysical concepts or have no meaning at all to some extent. This intangibility becomes mystery and confusion when put into a reproductive halt by fossilisation. This somewhat links to the ideas I had of cremation, and could be something I follow on with from this point.

Here you can see the casting process which I have begun to produce. I have created all of the moulds which I intend to pour plaster into to make the fossil like objects. I created these by using clay and forming walls around each of the objects. The ones which didn’t have a flat surface or an had underhangs which would stop the prints from being removed I physically embedded them within the clay (such as the teapot head on the body), in order to make them more likely to be able to be extracted from the moulds. Any part which is made of clay will be able to bend but the plastic sections won’t which will limit the removability. On the print of my street, I put clay within the small holed surfaces in order to stop them becoming filled with plaster and ruining the casting.

Here you can see the moulds filled with plaster which I created using terracotta pigment and placed gravel and dirt within the plaster itself in order to attempt to make the material more stone like. I think I could use more pigment in the future as well as more gravel and dirt in order to make the plaster less pristine. Also I overpoured some of the moulds and took too long with the process, therefore I wasn’t able to add to strengthening fabric to most of the before they set. As these are only studies, their perfect quality shouldn’t matter too much, but these are all things to improve if I decide to take this process and idea forward.