Before undertaking the making of the artwork for the Hop Hornbeam tree I had to figure out how to make it. I could not work directly on the tree while shaping and making the ‘corset’. I also realised that it would be virtually impossible to measure accurately all the curves and bends of the 3D shape. I would therefore need to create a rough mould to work with and on. Normally I would have done this using plaster bandage/ silicone etc, materials that were definitely not suitable for working with a crumbly bark surface. After some thought and a chat with my fellow artist and super mould maker Ayelet Lalor we decided that the malleable and un intrusive properties of tinfoil would work best.
So one fine morning about a month ago Ayelet, Clodagh Dooley and I set about making a temporary tinfoil mould of the selected area. We used copious amounts of tinfoil, selotape and support sticks. See image below of Clodagh and Ayelet busy helping me with the large task. Thanks again to both of them. It was quite a fun task to do and of course we got some interesting looks and comments from passers by.
As the piece to be moulded was so large we created it in three more manageable sections, which I transferred by car to my studio. I quickly backed the reverse of the mould with plaster bandage to preserve the shape and add strength. See image below.
The next step in the process was somehow to get the mould into a similar set up to the real life tree in my studio. Using a mannequin as a central support and substructure I covered it with chicken to roughly simulate the tree trunk. The mould was gently re-attached and adhered to the substructure. I set to work trying out various ideas on how I would segment the artwork. See images below.
After deciding which option to go for I made paper patterns for the corset. This was a quite a tricky process as you can see bellow.
Finally I placed the pattern sections on the fabric and cut out the individual pieces. Each section was then carefully sewn together. See images below.
The time had come to see how the artwork looked and functioned. I pegged the work onto the mould. At this stage I lightly stuck on some of the blue fabric strips onto the lines delineating the different sections. See images below.
Happy with the progress of the piece so far I now had to remove the blue strips and sew an extra channel into each section to allow the support wire to be inserted. At this stage I felt it was important to bring the piece into Trinity to test it’s fit. Before doing this I reattached the piece to the mould to work out some of the kinks with the wiring and fit before doing this.
On a Saturday the 24th of June I brought the work in progress into Trinity and spent many hours stretching and temporarily tying it into place. It was during this time that I had to make some final decisions on where the tying points should be on the corset. Seeing the piece in place also helped me decide on the need to wire and cover all the edges of the corset with the blue fabric. See a selection of images from the installation.
Lots more work needs to be done to the surface of the corset. I won’t post any more images of it until it has been finally installed in late September 2017.
The exhibition will officially open to the public on Friday 29th of September. The opening will coincide with the Trinity College European Researchers Night 2017 events. During the evening Olivia Hassett will perform alongside the Oregon Maple in the main square twice and there will be also be a guided walk of the eight artworks spread throughout the Trinity College Campus. I will post the eventbrite details to sign up for the guided walk at a later stage.