Photo: Marinco Kojdanovski. © Powerhouse Museum, Sydney
Transcript
I was keen, in this award, for lace to be interpreted in three dimensions – for lace design to be taken in new directions, and this work does push the boundaries of new technologies and processes, and uses rapid prototyping and digital fabrication. Jahn's was a masterful interpretation of lace – a computer generated form in three dimensions with a very strongly organic presence. This work not only satisfied my quest but also used the latest technology to create it. Jahn fabricated the work using a SLS Nylon 3D printer through the company called Shapeways – a very expensive machine. The overall shape was designed by writing a computer program that draws arc networks which were then wrapped in a sort of digital blob to make the geometry for the 3D printer. I think Jahn would be the best one to explain in detail – this is quite a complex process – but the end result is a really beautiful piece.
Fin de Siècle
Gwyllim Jahn
Dimensions
240 x 270 x 250 mm
Materials
3D model; nylon
Artist statement
‘This project proposes an architectural language of organic tectonic expressionism whereby ornament, structure and materiality are as formally inseparable as individual threads in a piece of fabric. This language is achieved by weaving together the inception of the first computer algorithm (Ada Lovelace), textile art as the origin of architectural decoration (Gottfried Semper) and the marriage of computing and textiles for fabrication (Jacquard Loom) within our contemporary context.’