Plaster prototypes were developed with casting formwork made from upholstery foam, hand-bent steel pencil rod, and heavy plastic sheeting that allowed some control over the general nature of the panels yet surrendered the specific aspects of curvature, voluptuousness, and surface tension to forces beyond our control (though inherent to the materials with which we were working). This hybrid methodology provided a framework where critical points of geometry could be controlled as necessary, variations in the physical form could be quickly iterated, and the formwork could be reused for multiple casts.
The repetition and organization of the sculptural patterns take on a purely graphic aspect reminiscent of rosettes and moldings run amok, dynamic in form but acknowledging walls and edges in a thoughtful installation. The material deployment merges the repetition of traditional tin ceilings with ornamental plaster work.
Material Research and Fabrication with Nathan Frey at Masterworks Plaster
Selected photography by Alan Tansey and Naho Kubota
The repetition and organization of the sculptural patterns take on a purely graphic aspect reminiscent of rosettes and moldings run amok, dynamic in form but acknowledging walls and edges in a thoughtful installation. The material deployment merges the repetition of traditional tin ceilings with ornamental plaster work.
Material Research and Fabrication with Nathan Frey at Masterworks Plaster
Selected photography by Alan Tansey and Naho Kubota