'FOUR TOWERS' (2017)
Approximately 10cm x 10cm x 50cm
'Four Towers' were produced as a follow on from 'Alumination', testing to see how iron reacts when directly poured onto pre-charred wood.
The form of the wood has taken a more natural one, made by splitting the wood to give an organic edge as opposed to the straight edge forms used for 'Alumination'.
The joining of the two materials was also improved by applying mortise & tenon and dowel techniques, with the wood hosting the void and the molten iron filling it.
'UNREACTIVE' & 'FALLEN' TOWERS (2018)
Approximately 10cm x 10cm x 60cm
These towers were the scaled up sisters to 'Four Towers' and were created to test new ways of fixing the two opposing materials together. This time instead of using wood-working inspired joints, coach-bolts were used.
With 'Unreactive' Tower the iron was cast separately from the wood, so the two pieces of material fit together perfectly, with no burn-gap there is a a flush line where they meet. The coach-bolt is set into the cast iron and a hole in the base of the wood sits perfectly onto it.
'Fallen' Tower is an example of reversing the order of the wood and iron. Cast with the iron taking up the top part of the form rather than the bottom. As the weight of the iron could not be supported by the delicate charred wood, this piece is shown horizontally.
'UNPREDICTABLE' TOWER (2018)
Approximately 20cm x 20cm x 60cm
Created by simultaneously casting bronze then iron onto wood within the same mould. A 'Glamorous' way of casting.
'Choosing the name for this piece was easy and is self explanatory. I tried to predict the outcome of pouring both iron and bronze into the same mould, knowing that if you poured both metals at exactly the same time, you were likely to get a marbled effect.
Only I decided to pour bronze in first then iron a few minutes later and expected to find the two metals sitting separately yet still fused together.
In reality the iron pushed into the center of the bronze and pushed it out to the sides, almost creating a plated effect.
The result is that the center of this piece is iron and the outer edge is bronze.'
You can see in this image the clear stages in the pour; at the top, the charred wood; next the golden bronze reacting with the wood; next a line of iron showing where the bronze came up to; at the bottom the rose bronze created by elements of the golden bronze being burned away by the hot iron.