Friday 22 July & Saturday 23 July 2016
Wysing studio artist Florian Roithmayr ran a two-day course on moulding and casting.
Moulding and casting are traditional sculptural techniques, but the imprint, the gesture informing moulding and casting can also be found in other art techniques and even in areas not often associated with art making such as construction work, archaeology or car-pimping.
This two-day course explored different processes based on the imprint, of the coming together of different matter and the consequences of their exchange. During the course, we worked with basic materials including clay, plaster, concrete, wax and papier-mâché to develop an experience of the relationship between mould and cast: of form-giving and form-receiving. These materials and processes were used in speculative, unpredictable ways to allow accidents and chance occurrences; allowing and inviting contaminations, reversals, decay and destruction. The focus was on making through process rather than through resemblance.
The practical workshop was supplemented with presentations of the imprint in historical and contemporary contexts by Florian Roithmayr and invited guest Dr Susanne Turner, Curator at Museum of Classical Archaeology, Cambridge. Dr Susanne Turner gave a presentation entitled An old cast in new roles: plaster casts of classical sculpture in Cambridge.
It was an experimental workshop; we unlearned traditional mould-making techniques.
Friday 22 July 2016
Making session 01: concrete relief. Mixing concrete. Additions. Relief moulds
Presentation of moulding and casting in different areas of application by Florian Roithmayr
Making session 02: clay and concrete. Clay moulds
Making session 03: plaster and sand. Sand moulds. Mixing plaster
Saturday 23 July, 2016
Making session 04: papier mâché. Making papier mâché. Press moulds.
Presentation by Dr Susanne Turner entitled An old cast in new roles: plaster casts of classical sculpture in Cambridge.
Making session 05: demoulding
Making session 06: presentation
Florian Roithmayr‘s work involves the presentation of hand-crafted, sculpted and cast homages to the production of objects, ranging from the wall tiles in a German underground station to the cave paintings of prehistory. He often refers to patterns of withdrawal, arrest or speechlessness, as either a motive for a different kind of production or as an embodiment of resistance and empowerment. One of his recent body of works explores Hugh Hefner’s Playboy Grotto, designed by Ron Dirsmith at the height of Hefner’s fame in the 1970s. Florian Roithmayr (born 1976, Germany) has recently had solo exhibitions at Camden Arts Centre, MOT International London, Galerie Neue Alte Brücke in Frankfurt and Treignac Projet, France.
Wysing studio artist Florian Roithmayr ran a two-day course on moulding and casting.
Moulding and casting are traditional sculptural techniques, but the imprint, the gesture informing moulding and casting can also be found in other art techniques and even in areas not often associated with art making such as construction work, archaeology or car-pimping.
This two-day course explored different processes based on the imprint, of the coming together of different matter and the consequences of their exchange. During the course, we worked with basic materials including clay, plaster, concrete, wax and papier-mâché to develop an experience of the relationship between mould and cast: of form-giving and form-receiving. These materials and processes were used in speculative, unpredictable ways to allow accidents and chance occurrences; allowing and inviting contaminations, reversals, decay and destruction. The focus was on making through process rather than through resemblance.
The practical workshop was supplemented with presentations of the imprint in historical and contemporary contexts by Florian Roithmayr and invited guest Dr Susanne Turner, Curator at Museum of Classical Archaeology, Cambridge. Dr Susanne Turner gave a presentation entitled An old cast in new roles: plaster casts of classical sculpture in Cambridge.
It was an experimental workshop; we unlearned traditional mould-making techniques.
Friday 22 July 2016
Making session 01: concrete relief. Mixing concrete. Additions. Relief moulds
Presentation of moulding and casting in different areas of application by Florian Roithmayr
Making session 02: clay and concrete. Clay moulds
Making session 03: plaster and sand. Sand moulds. Mixing plaster
Saturday 23 July, 2016
Making session 04: papier mâché. Making papier mâché. Press moulds.
Presentation by Dr Susanne Turner entitled An old cast in new roles: plaster casts of classical sculpture in Cambridge.
Making session 05: demoulding
Making session 06: presentation
Florian Roithmayr‘s work involves the presentation of hand-crafted, sculpted and cast homages to the production of objects, ranging from the wall tiles in a German underground station to the cave paintings of prehistory. He often refers to patterns of withdrawal, arrest or speechlessness, as either a motive for a different kind of production or as an embodiment of resistance and empowerment. One of his recent body of works explores Hugh Hefner’s Playboy Grotto, designed by Ron Dirsmith at the height of Hefner’s fame in the 1970s. Florian Roithmayr (born 1976, Germany) has recently had solo exhibitions at Camden Arts Centre, MOT International London, Galerie Neue Alte Brücke in Frankfurt and Treignac Projet, France.