Introduction

6SEVEN5

ABSTRACT

6SEVEN5 is an experiment designed to manually generate 3D compound forms through a dictatorial approach.The dictatorial architecture of these forms makes use of two elements; 1: specific types of formal qualities, 2: specific quantities. Forms generated by translating the dictation tend to be significantly different from the ones that are based on sheer visual inspiration from existing objects.

INTRODUCTION

6SEVEN5 is a colloquy between my rational self and my intuitive self. It is a curious query that leads a formal experiment, nourishes in return on both its outcomes and corollaries. 6SEVEN5 was not inspired by anything; in fact it was born out of a resistance to being inspired from existing objects.

The idea of making inspiration-free forms has been there with me for some time. Recently I started using a dictatorial approach where I was following sets of mathematical numbers in coordination with certain formal qualities to generate 3D forms.

The idea developed more when I decided to use Triaxial-combination-system to generate sets of three variables (each with a gradual value between 1 to 9), and translated those numeral equations into sketches of 3D forms.

Triaxial testing system is a widely used method that provides various gradual combinations between three different qualities. It is used in labs to systematically find out best combinations of (any) three materials or values. Scientist and chemists extract the best strengths, porosities, colors, and other physical and chemical properties of material mixtures through this system. I have used this system to find out best combinations of clays and glazes as a ceramicist earlier.

In the specific case of my experiment 5SEVEN6, the three variants that I initially used to create inspiration-free hollow forms were

1. Number of openings on/in a hollow form (1 to 9)

2. Number of tangent yet independent cavities a hollow form must be made up of (1 to 9)

3. Number of additional (mostly decorative) angles the form must incorporate (1 to 9)

triaxial mixing system as utilized in my first experiment

 This exercise resulted in 49 simple mathematical equations having different quantities of three above-mentioned variables.

The next step was to translate these equations into 3D forms.

That meant choosing each of the 49 resulting equations and strictly following the numbers to sketch out a 3D hollow form corresponding with each equation.

An example of one such formula may be

Angles = 4, Cavities = 2 and Openings = 5,which I write for my own reference as

A4 C2 O5  (briefly as 425).

So according to my experimental system, this specific form called 425 must be based on two enclosed volumes (cavities) connected to each other, will have a total of four openings, and this form will have four decorative angles to render the form more dynamic.

6SEVEN5 as a system interestingly functions on two contradictory qualities; constraint and freedom. The system is both highly restrictive (in terms of a precise numerical equation which must be strictly followed) yet equally liberating after the basic requirements have been met.

While working, I strictly follow the dictation about how many cavities, angles and openings a form must contain, yet at the same time there is a huge margin of exploration and personal expression in deciding the shape, size and proportion of cavities and openings, proportion and positioning of all three elements, and formal interrelation between multiples of all three elements. Each formula can truly and honestly be translated in numerous ways.

STAGE ONE

I had the chance to work on first eight forms during a residency in Fuping, China in October 2015.

Still struggling to fathom the possibilities of my own experiment, I restricted myself to molding and slip casting small forms that I planned to use as pendants.

Following are some sketches that I translated into carved plaster models, ready to be molded and slip casted.

plaster models

The final objects were part of my solo in the Scandinavian Museum at FULE Ceramics Arts Museum, Fuping, China in October 2015. 

Objects produced during this residency had valuable lessons for me. I really liked 6 of those forms but the other two were not aesthetically pleasing, though they were honest result of the same experiment that produced 6 good forms.

At that point of time I realized that all equations must be honestly translated into sketches, but it will be a good idea to pause and think what that specific form may be suitable for.

I had to be cognizant of the following

a)    All forms must have some aesthetic value.

b)    Transforming an equation honestly definitely is the first step, but most forms have to be developed further to satisfy other functional requirements, as long as the latest form does not violate the rules laid down by original numerical equation.

STAGE TWO

 Now that I was able to wrap my head around the complexity of a challenge I designed myself, I worked on another aspect of this experiment during my residency at International Ceramics Studio (ICS), Kecskemet in February 2016. This time instead of coming up with equations through triaxial combination system, I tried to explore 6SEVEN5 through another way, by making two changes

       I.         Instead of choosing three variables, I tried to see if a combination of two variable still allowed me to generate interesting forms

      II.         In case of two variables, since there is no need of using triaxial system, I made the equations by randomly picking one number each from two columns of descending numbers to make one equation, and so on for more equations.

I was honestly skeptical about this new decision because it looked way too simplistic to be of much value, and I saw little need to generate these forms through 5SEVEN6.Yet I went ahead with it because of the following reasons

·       The gist of this experiment was to depend more on practical brainstorming than coming to any decision through personal assumptions.

·       This exercise was perfectly suitable for the following independent projects I was thinking of

a.     NONPAREIL
(confession: i am happy with the out come of this project ,yet it isnt true to 6SEVEN5,but I have included it here anyways because this was done while i was in process of understanding the scope of 6SEVEN5 itself,and at that time i wanted to see how one equation may be translated into different ways.It was only later that I sorted out how to stay independant of any visual refrence during initial stage of form conception.)

NONPAREIL was to be a collection of geometric compositions for small porcelain pendants, covered with shiny celadon glaze. These porcelain compositions had to be dynamic in nature, yet slightly flat to be comfortable for wearing on chest. This practical requirement compensated for lost complexity of form if only two variables were to be used instead of three.

Since I wanted to make dozens of different pendants for NONPAREIL, It made perfect sense to choose a few equations and try to honestly translate each equation into as many possibilities as time allowed. I was able to make 250 pieces under NONPAREIL, and only a few compositions matched each other.

b.     OARFIN

OARFIN was to be a collection of tiny forms based on two formal elements, fin-like flat protrusions, and angles at which these multiple fins were connected to each other. OARFIN was a formal exercise aimed at making thin dynamic forms to be used as necklace pendants. OARFIN is an ongoing project because at ICS, I was mostly able to sort out various practical problems regarding slip casting such thin forms. I am currently working on developing more complex forms

Although my work at ICS was fruitful in some ways, In future I would stick to working on complex forms based on three or more variables.

FINDINGS TILL DATE

Having the time to think about 6SEVEN5 at ICS made me realize the following

1.     The experiment can be expanded to cover many more possible variables and their combinations than the ones I am using currently. I am convinced that 6SEVEN5 not only is a life long quest for me, it also is fully capable of providing umbrella question to my future projects

2.     Dictatorial and mathematical approach to form-generation is not limited to organized combinations like triaxial system. There can be other dictatorial approaches in which numbers (or combination of numbers) majorly decide the general form of a complex volume.

3.     There are additional rules of game that need to be clearly written down before undertaking any such experiment in order to fully see the work of intuition distinct from the work of dictation . This distinction may not be useful in general where the sole idea is to generate a new (er) form, but quite useful where one needs to analyze the nature of experiment itself

4.     The destiny of final 3D form is a matter quite different from the experiment itself. The final form may be

a)    Useful as it is

b)    Used as a seed/study for generating more complex forms

c)    Consciously directed towards/to suit a specific functional need

5.     There are majorly three ways in which numbers may be used to generate 3D forms

                         I.     By coming up with a numerical combination/formula through an organized system, such as triaxial test

                        II.     By using some element of chance to come up with a numerical combination/formula

                       III.     By coming up with a base numerical formula by either of two systems mentioned above, and later adding up single or multiple layers of additional yet independent qualities or values through numbers in order to make forms more complex

6.     The entire form-generation exercise may also be done though any available 3D modeling program, but it may have one significant shortcoming because of which I have decided to stick to manual drawing. Although it is much faster to computer-generate independent volumes, and combine them together in countless proportions and angles, there will be zero chance of benefitting from minor “irregularities” in manually drawn forms. These irregularities may be

·       A variation of thickness or mood in drawn line

·       Slip of pencil leading to slightly different shape

·       Overlapping of many marks/redrawing of same form that may suggest newer formal possibilities

·       Broken line that may give an impression of an opening

·       Overlapping/correctional drawings that may suggest layered 3D forms, and much more.

As I mentioned before 5SEVEN6 is a query that nourishes on both its outcomes and corollaries. Corollary is an additional discovery that one comes across while looking for some other result during an aimed task. These accidental/incidental discoveries are extremely important for expanding the possibilities in an experiment and these also instantly take the experimenter out of her comfort zone.

VALUE OF THIS EXPERIMENT

The value of this experiment lies in following

•                             It is a simple to follow, step-by-step pedagogical system. Any art or design practitioner may use this system as a 3D brainstorming method personally, or in classroom environment. Once this system is fully understood and internalized, it can be expanded immensely to suit individual preferences 
•                    The process of artistic and aesthetic “creation” is commonly accepted as an esoteric and abstruse phenomenon that only “gifted” people can undertake. 5SEVEN6 is a conscious effort to demystify “creation” and explain it rather as a systematic approach to analyze and solve a formal challenge.
•                    All the forms generated through 6SEVEN5 can surely be made independent of this system. The value of this system lies in the fact that as an extensive brainstorming tool, it pushes the creative artist to move outside her area of comfort almost instantly. I don’t see this dictatorial approach as a hurdle to creativity but an augmenting element to creativity.
•             The real value of this system lies in its built-in capacity to expand the experiment to one’s liking.
•             5SEVEN6 should also be seen as a time management tool because it directs the user to brainstorm more options within available time.

THE SCOPE OF 6SEVEN5

In future, I intend to translate combinations of three or more formal qualities from the list below into 3D forms.

·       Various textural moods

·       Physically soft forms

·       Physically hard forms

·       Physically light weight

·       Physically heavy

·       Shapes of orifices

·       Physically liquid form

·       Physically hard forms

·       Perforations

·       Porosities

·       Types of fixed joints

·       Types of detachable joints

·       Links

·       Smooth forms

·       Faceted forms

·       Geometric forms generated through dictatorial approach

·       Translucent forms

·       Opaque forms

·       Formal reflection

·       Conceptual reflection

·       Physical reflection

·       Shiny, mirror, reflective surfaces

·       Surface qualities

·       Colors

·       Use of perspective

·       Inner profile of a hollow volume

·       Some act of material removal

·       Different types of openings

·       Different types of angles

·       Different types of division/separation/slicing off of forms