The Kinetic body sticks-project by Naja Ryde Ankarfeldt 2015, started out with one small block of foam, and a piece of double sided tape. I cut the block into a lot of smaller parts, still keeping them together. Hereafter I taped this created structure directly onto my skin, and recognized something very interesting. When moving my fingers the small parts stuck onto my hand would move from the underlying mussels. From even the smallest movements invisible to the eye, the height of the sticks enlarge the tiny movements and move the entire structure like waves. When placed on the neck the sticks are moved synchronized with the voice and action of Adam’s apple. And like that different sections and muscles of the body causes different kinds of effect on the structure. I think it is interesting to research the materiality of the body and how to pay attention to and study the anatomic movements: how do I move my own finger in the first place. The functionality of the anatomical body is so familiar to its owner and taken for granted, that it can be hard to recognize and study the amazing machinery we move around. When having this structure of alienated sticks stuck to your body it suddenly becomes easier to pay attention those moving sticks since they are not an integrated part of you. And it now becomes possible, from an objective point of view to focus on the thrilling anatomic motions. The flexibility of the structure is made possible from the several parts that affect one another and appears to be a connected material or organism. It is the spaces in between the separated parts that allow the movement. I have been experimenting with a broad range of different shapes, sizes, tools and materials. The construction is quite challenging, and I been around different solutions for making the sticks balance, making the structure light enough to remain upright, how to glue them to the material, whiteout gluing them together, how to connect them to the body and so on. The project is still ongoing and will be presented as a part of my graduation project later the year.
Lila Bobrowicz: “Going around the built areas and forests of Den Haag, I noticed the Duckweed growing in any water reservoir. Not knowing what this green sheet is and why it’s there, I was fascinated by the uniform surface it created, the bright color and its story. Previously I learned about the phenomena of invasive species which are introduced to an eco system which is not theirs and many times take over. Often they are over abundant and react to human activity. If they successfully live in a system, they often make use of the resources and impact the native plants and animals. When thinking about a medium to work with, I was curious to work with one that in the process of collecting it I don’t harm and perhaps even contribute to the functionality of the system. Without knowing their real story, the duckweed seemed abundant.”
After some research, I couldn’t confirm that the Duckweed is invasive. None the less, if I large quantities it limit life under it by preventing light and oxygen to penetrate through the water surface. In my first contact with it, I discovered the mysterious uniform matt is assembled from tiny plants with thin stems. Apparently, it is one of the smallest flowering plant in the world.
I wanted play around and research about the duckweed as well as to create a matt out of it that will keep intact. To do that, I collected Duckweed in different locations and investigated different mixtures to glue the duckweed together.
My first mixtures were based on homemade glue recipes, most based on these ingredients:
Flour, Water, Sugar, Vinegar.
The mixtures had a white color and took time to dry. To speed the process, I placed the duckweed with the different mixtures in the oven. Later I continued with the oven, mixing the Duckweed with Arabic Gun and wax. Each ingredient created different flexibility levels, color and thickness
The homemade glue mixtures had to spend more time in the oven to become less liquid, depending on the thickness of the mixture. While going through a baking process, the Duckweed inevitably got browner, drier and sometimes shrunk in size. In order to keep the Duckweed as fresh as possible, I placed a plate with a homemade glue mixture and Duckweed next to a sunny window. After about 2-3 weeks, the sheet had dried. Unlike the baked mixture, the liquid maintained its yellow-white color with the Duckweed embedded in it. Looking closely, the patterns, details and gestures of the Duckweed became visible and were gently preserved by the liquid. The sheet however was un flexible and very delicate.
The wax melted fast once in the oven and when put outside it hardened fast as well. That way, the Duckweed kept its fresh green color since it did not spend much time in the oven and was not really baked. In terms of its flexibility, the wax sheet was un-flexible and would break when folded.
In order to keep the Duckweed as fresh as possible, I placed a plate with a homemade glue mixture and Duckweed next to a sunny window. After about 2-3 weeks, the sheet had dried. Unlike the baked mixture, the liquid maintained its yellow-white color with the Duckweed embedded in it. Looking closely, the patterns, details and gestures of the Duckweed became visible and were gently preserved by the liquid. The sheet however was un flexible and very delicate.
Later I wanted to minimize the adding of other ingredients. I decided to use white glue since it sticks faster and becomes almost transparent when it dries. This time I used Duckweed I collected from the school’s courtyard which was bigger in size and seems to have more abundant stems. The stems got intertwined with one another and so when I spread them out to create a sheet I tried to maintain their natural fabric. I spread minimal amounts of the glue on both sides of the sheet and let it dry for a few days. The resulted sheet kept most of the characteristics of the Duckweed while still remaining a surface in tacked.
whole documentation by Lila Bobrowitcz: Duckweed
Anna Zelinkova, started to experiment with a few kinds of plastics and slime materials….” I was interested about changing of their characteristic conditions. The changing conditions of starch substance I found very interesting, so I started to be more focused on this type of substance.
The character of starch mixture with water is changing depends of outside conditions – when it is under a pressure it gets start to be hard and crumbly, but when is material in peace position it behaves as a liquid (typical for non-Newtonian fluids). But I figured out that the same conditions has a puding powder (cause theres a corn starch) but it has also very specific smell and colour. This gave me an idea try to hack the starch substance and to find my ideal recipe for it.
I figured out, that substance becomes dry fast so I add some glycerine inside which helped hold humidity longer but also made viscosity character better. Another problem of substance was that too much of it stays on fingers so I tried to add sunflower oil inside. Theres still some pieces of material staying on fingers but its much better then before. I also made some experiments with colours and smells.”
After finding this nice weird substance I was thinking about how to compose it into artpiece. I wanted to make it playfull and funny. Nowadays I am experimenting with electricity audio cycles. So I tried to connect the substance project with cycle I just made and it worked very well – substance is also great conductor. This gave another condition to my material – sound. Its working on principe of back loop in cycle with using capacitors. I was searching for ideal construction of cycle with my emulsion and human. The image of musical instrument came very fast and it fullfilled mine notion of funny and playfull way of using substance. I figured out that very good for instrument construction is to use one hand for holding bowl together with solution and anode and with another hand play with emulsion with cathode fitted inside.
This can offer experience for sences and pleasure of touching weird stuff. I also tried experiment with cathode placed in my mouth which can add another experience of taste.
The nowadays construction wiev of whole musical instrument is still in developing and there are some ideas how it could looks. Finally I tried if I can use just water from sink and also worked very well. But with these emulsion is much more fun! Iam still searching for musical instrument name….
Fluid composition: Starch, Pudding powder, Water, Glycerin, Oil, Colour, Fragrance
whole documentation: luuk boormans tactile documentation, bubble table
During the academic year 2013/2014 Andreas Sahl Andersen has been exploring the qualities of beeswax. “I was searching for wax similar to what i worked with in sketching methods, but it was not to find. I bought 5 kilo natural beeswax from a beekeeper instead. The natural beeswax had different qualities – it was contracting when cooling down, making it crack. I discovered that if heated up for a long time, the beeswax would be refined and become stronger and harder. I had discovered that bees wax changed light qualities when melted, which also releases a very distinct warm opaque smell. When the wax is solid, light are passing through thin layers but when melted, light penetrates perfectly and can be projected by an overhead projector.
I first made two “wax light” pictures. By stacking layers of wax, the lights penetration of the solid wax changes, which creates a nice tunnel effect. I mainly was focusing on using the wax for projections. My first focus was to animate shapes in the wax, by melting different areas over time – making the shape move. Melting an area and letting it cool down, creating a breathing effect. I also tried to synchronize these compositions to music, made by a friend. https://www.youtube.com/watch?v=vvEWly67jcI&feature=youtu.be
Than I experimented with adding other materials; other waxes w. diffident viscosity, sugar, vinegar, Cola, salt and others, to create a more dynamic effect when heated up.
I made a machine that made the glass, where the wax is, turning slowly. It allowed me to create more interesting shapes, and to let it work more on its own.
Polly Oskam: “Gelatine is weird stuff. When I was a child my mother sometimes made colourful drilpudding (kind of jello) It always tasted a bit weird but it was a huge fun to see it wobble. I rather played with the “dessert” then eat it. I guess that’s why I chose this material.”
“I wanted to make a large sheet of this stuff and I started out experimenting with different ratio’s or recipes. I noticed that the more Glycerine used, the stickier and flexible it is, but it is not strong. Less Glycerine makes it celluloid like. Later on I experienced that the influence of the air humidity, the amount of water added and the time you let it dry has a huge effect on the material…..After at least letting the first sheet dry for a week: It did not break when bended, It felt like plastic, it still smelled a bit like wet dog, it was still pliant, it wasn’t sticky.”
200 gr gelatin
800 ml water
200 gr gelatin
800 ml water
“Also a good mixture, it filled the whole glass plate. After it dried it was a bit sticky, flexible almost like rubber. Every day it got more solid. This was the stuff I wanted! Inoticed that the longer it dries the better it becomes, that temperature and humidity influence the dry time, the end product and can change the texture. I also found out that that if two different sheets are stacked upon each other they will ‘exchange’ properties. (texture, colour and solidity). The orange sheet is really versatile. it is still a bit sticky and it is really strong. I need to make some objects/clothes with it…”
Katarina Jancovicova came with the idea of using tonic as a colouring. It lights up in blacklight.
Instead of water I used tonic and this is the result: That was really a great idea!
Full research report of Polly Oskam: https://sites.google.com/site/pollyoskam/home