Please fill out a registration form before booking a workshop.
Holes, Hollow Shapes & Edges - A Wax Course with Peter Bauhuis
PLEASE NOTE: This workshop is now full. To be placed on a reserve list please use the contact form.
Description
The strangest thing about a hole is its edge. It's still part of the Something, but it constantly overlooks the Nothing -- a border guard of matter. Nothingness has no such guard; while the molecules at the edge of a hole get dizzy because they are staring into a hole, the molecules of the hole get... firmy? There's no word for it. For our language was created by the Something people; the Hole people speak a language of their own.
Kurt Tucholsky, "The Social Psychology of Holes," 1931
Holes are crucial. We live from, through, out of holes, holes to breath, holes to spit, holes to look out, holes to peep in, holes to pour in, pin holes, peep holes, black holes.
Hollow shapes need at least one hole. It is the threshold between inside and outside.
What happens on its edge?
We will examine this topological question working with wax. The qualities of wax allow processing our experiments in an easiness and quickness that is rather unusual for those who are used to work in metal.
Content
How does a hole connect inside and outside? how are things connected in general?
What makes an object three-dimensional and interesting? What role does the hole?
How can we use wax as a means to build jewellery and vessels?
We will explore the specific potentials of this material by means of kneading, cutting, dipping, melting, fusing, dripping - putting an emphasis on using liquid waxes and basic mould-making techniques to produce wax models, that can be converted into metal pieces by lost wax casting.
The description of volumes, surfaces and content, reflecting the specificities of hollow cast objects and necessities of the casting process - preparing feeding channels, suitability of pieces for casting, oxidations, colours of alloys - serve as criteria for our work and discussions and are taken into the process of planning and design. We will select a suitable number of the produced wax models to cast them during the course in metal.
Outcome
The course helps you to strengthen an understanding of how to develop three dimensional hollow shapes and make wax-models, that are aesthetically successful, being aware of holes and edges. You will build up an archive of possibilities, with making a vast amount of wax models and a selected number of cast pieces of jewellery and (very small) vessels.
Dates: Monday 13 - Friday 17 July, 2015, 9.30am - 4.30pm
Location: Sydney College of the Arts, Balmain Rd, Lilyfield NSW 2040
Cost: $650.00 ($585 full time student - limited places available). includes morning and afternoon tea
Skill Level:
This course is suited to people that are keen in working in three dimensions and want to learn the language of wax and are willing to think and understand about what they do. Some experience in gold & silversmithing is helpful but not necessary.
Tools and Material requirements:
Tools for working with wax, scoops, scissors, cutter, scalpel, knife, electric waxwelder (if you have one), paintbrush, spoon, scraper, drawing material, basic goldsmithing tools, wire cutter, working clothes, apron
PLEASE NOTE: This workshop is now full. To be placed on a reserve list please use the contact form.
Description
The strangest thing about a hole is its edge. It's still part of the Something, but it constantly overlooks the Nothing -- a border guard of matter. Nothingness has no such guard; while the molecules at the edge of a hole get dizzy because they are staring into a hole, the molecules of the hole get... firmy? There's no word for it. For our language was created by the Something people; the Hole people speak a language of their own.
Kurt Tucholsky, "The Social Psychology of Holes," 1931
Holes are crucial. We live from, through, out of holes, holes to breath, holes to spit, holes to look out, holes to peep in, holes to pour in, pin holes, peep holes, black holes.
Hollow shapes need at least one hole. It is the threshold between inside and outside.
What happens on its edge?
We will examine this topological question working with wax. The qualities of wax allow processing our experiments in an easiness and quickness that is rather unusual for those who are used to work in metal.
Content
How does a hole connect inside and outside? how are things connected in general?
What makes an object three-dimensional and interesting? What role does the hole?
How can we use wax as a means to build jewellery and vessels?
We will explore the specific potentials of this material by means of kneading, cutting, dipping, melting, fusing, dripping - putting an emphasis on using liquid waxes and basic mould-making techniques to produce wax models, that can be converted into metal pieces by lost wax casting.
The description of volumes, surfaces and content, reflecting the specificities of hollow cast objects and necessities of the casting process - preparing feeding channels, suitability of pieces for casting, oxidations, colours of alloys - serve as criteria for our work and discussions and are taken into the process of planning and design. We will select a suitable number of the produced wax models to cast them during the course in metal.
Outcome
The course helps you to strengthen an understanding of how to develop three dimensional hollow shapes and make wax-models, that are aesthetically successful, being aware of holes and edges. You will build up an archive of possibilities, with making a vast amount of wax models and a selected number of cast pieces of jewellery and (very small) vessels.
Dates: Monday 13 - Friday 17 July, 2015, 9.30am - 4.30pm
Location: Sydney College of the Arts, Balmain Rd, Lilyfield NSW 2040
Cost: $650.00 ($585 full time student - limited places available). includes morning and afternoon tea
Skill Level:
This course is suited to people that are keen in working in three dimensions and want to learn the language of wax and are willing to think and understand about what they do. Some experience in gold & silversmithing is helpful but not necessary.
Tools and Material requirements:
Tools for working with wax, scoops, scissors, cutter, scalpel, knife, electric waxwelder (if you have one), paintbrush, spoon, scraper, drawing material, basic goldsmithing tools, wire cutter, working clothes, apron
Peter Bauhuis, Dishes, objects 2012, Silver, copper, tin, bronze, zinc
PETER BAUHUIS
Peter Bauhuis was born 1965 in Friedrichshafen, Germany. He lives and works in Munich. Being trained as a jeweller, Peter studied at the Munich Academy for Fine Arts with Otto Künzli, since 1999 he works in his own studio in Munich and shows his work in exhibitions and won numerous awards and prizes, in 2013 the prestigious prize of the International Silver Triennial in Hanau, Germany. His work can also been seen in public collections in Europe, the USA and Australia. He teaches at Alchimia, school for Contemporary Jewellery in Florence, Italy. Peters work consists of jewellery and objects, as well as books and exhibitions.
PETER BAUHUIS
Peter Bauhuis was born 1965 in Friedrichshafen, Germany. He lives and works in Munich. Being trained as a jeweller, Peter studied at the Munich Academy for Fine Arts with Otto Künzli, since 1999 he works in his own studio in Munich and shows his work in exhibitions and won numerous awards and prizes, in 2013 the prestigious prize of the International Silver Triennial in Hanau, Germany. His work can also been seen in public collections in Europe, the USA and Australia. He teaches at Alchimia, school for Contemporary Jewellery in Florence, Italy. Peters work consists of jewellery and objects, as well as books and exhibitions.
