How to make so-called rough or composite models


First of all, a series of premises are set out as a starting point, which should, theoretically, govern the research.
Regardless of what the governing part seeks to propose, the premises are interpreted by the performer, the servant, in the following way:
We have a mass or a certain something which is wrapped around the essence or core in question. The objective is to reach inside what is under the wrapping, and to find how to bring light to it, how to proliferate the light and diffuse it.  The next step is how to stop this light, how to deliver it.
The same strategy could be applied to light as to smell, sound and humidity.
Images will immediately come to mind long before modelling begins. The first rough attestation is created from the point of view of the governing part, where the performer will set out to search for such objectives independently from the process.  But curiosity is not subject to rational control and they say that’s the way cats get killed. Meow.
Four courses of action are considered.
The mass and its cracks. Poking about, sculpting and having Superman’s power of vision which allows you to see even through kryptonite. Second recrimination due to a whole series of actions without any apparent sense or adjectives, which denote an escapist attitude and lack of commitment.  Material: wax
The columned mouth or the toothless room, which more than a course of action is like a drawing where the mass is regarded as an accumulation of elements which become evident due to the absence of some or many of them from where you expected to find them. Material: card
The colander eclipse finds its origins in the notion that the moon has tubes, holes or something similar running through it, meaning it fails in its attempt to block the Sun’s rays as they make their way to earth, but, in turn, this attempt becomes a triumph with the success of Saturday Night Fever.  Material: alginate
The engine in a Cherokee, or how such an accumulation of contrasting elements make up content and a continent at the same time.  In other words, depending on how far you are involved, you don’t know whether the jumble is being hidden or the jumble is hiding something. The performer has always been surprised by the fact that, despite being an accumulation of elements standing apart from one another, not a single wave of light manages to get through. The engine from a Seat Marbella will not suffice. Material: Internet

1. the mass and its cracks.
The first step consists in going down to a shop run by Orientals at three o’clock on a Thursday afternoon and looking for wax. Two types of candles are chosen – one of them stands out due to its colour and size. The other is completely inconspicuous – acquired just because it is white and to see what happens. The shop assistant says it is very beautiful and very cheap as he points to a clearly useless metal holder at the candle base.
One. The large one is circular, green. In parts it looks translucent, but this cannot be proven. Perhaps it is just our imagination.  It also gives off an aroma.  It has three wicks, meaning three flames came be alight at the same time. The performer looks at it and smells it.  He takes a pair of tweezers and removes two of the wicks carefully, leaving a tunnel which passes all the way through the candle. The third wick won’t come out, so it is lit and the wax melts. If we are patient, it may just leave another hole through the candle.
Conclusion: With regard to light: mass may not be opaque, and if pressure is put on the performer, it could be said that the candle can give off light itself.  With regard to smell: the material itself gives off a smell which hasn’t been added to it, but is rather a constituent part of its characteristics and can be stimulated, that is to say, regulated to a certain extent.  With regard to access: the candle becomes perforated as some of its components, the wicks, are removed.
Two. The small candles. They are released from their cellophane wrapping and the sky blue bow. They are examined carefully and as the performer cannot think of any use for them, they are placed in the waste paper basket. Tweezers are used once more to remove the wicks – successfully in one case, a failure in the other. This time a complete tunnel is not achieved. The performer takes a Stanley knife and tries to cut through one of the candles – surprise – a wall on the outside and one on the inside. One is made of wax, which gives it shape and covers the outside surface. The other is made of a synthetic material which acts as a filler.  We take a tin soldering iron and start to melt the filler in order to reconstruct the skin again afterwards. Filled beforehand, now empty.
The wax which melts solidifies quickly. A receptacle is made where the wax falls. Several perforations are made in the receptacle so it will be more stable on the table, but – or surprisingly – the wax partially leaks through until it blocks up the holes itself, a victim of its own success.
Once the mass is hollowed out, we put it up against the light and can see little. We are going to perforate. We look for an instrument which will enable us to make small perforations and we find a brass rod.  We heat it and focus our efforts a while on piercing one of the candle walls.
We construct a template so as to make the process less haphazard. However, the template is actually designed with the slight intention of creating two highly perforated areas, the rest less so and more random to a certain extent.   We perforate the other side directly with the hot tip of the soldering iron.
Conclusion: Perforations reveal the thickness of things and they also make us think about what is behind and the existence of places on the other side. By knocking gently we may discover that there may be something on the other side – instead of sounding hollow, an aria may burst out.
2. the columned mouth or the toothless room
One. The volume is added to. The aim is for it to be a certain three dimensional shape – above, below, to the right and to the left. Two horizontal planes made of card are set up and are joined together using three pieces of two different widths.  Each plane will have a minimum of two sets of three pieces of different lengths which will join it to the two planes at different distances. Three planes are perforated with circular holes. The groups of vertical pieces define the different areas like a cage, where little pieces of silver foil are placed.  If the paper is blown upon, it moves and makes a noise.
Conclusion: adding elements and holes defines areas, but without confining them. The openings which are made into the space itself help to deceive perception. This is the way to win the game. The planes accompany the light, particularly when they are linked to a perforation. The perforations on different levels may not be facing one another, so light enters in a more indirect way, thus making perception of the space more complicated.
Two. Between the mass, the adding of volume and the preconception of the moon being a colander, several sheets are perforated.  Certain areas are designated to be perforated generously, but without trying to achieve perfect alignment of the holes between the different sheets. Two sheets are covered by smooth silver foil on one side, a third one with crumpled silver foil.  A base is constructed with grooves at different distances – some are parallel, others are not – in order to be able to fit the sheets and see the latticed effect of the misaligned holes.
Conclusion: Making additions adds volume, but multiple perforations add air, so it isn’t a volume which is stifling. The slatted effect doesn’t have to be permanent, it can be modified. The walls can be alive. Light and perception can be changed at will, or randomly, or controlled by a complex system (such as the day).
3. the colander eclipse
The moon is a colander. In 1 we had a mass on which we performed different actions. Now we are going to do the reverse (the performer would say “a slight reverse”, knowing full well that the governing part considers the expression as a sign of insecurity) and the incisions or perforations are going to be planned beforehand.  A user-friendly, quick-setting liquid material – alginate – is used as well as translucent materials which are also edible – sweets, jelly beans. In this way slight expectation is created. Several tests are carried out. A. Different coloured jelly beans are placed in contact with the formwork (a plastic cup). Their position is adjusted with needles. Some jelly beans are placed at different distances from the perimeter. B. « Bridges » are made by stringing jelly beans together side by side, adjusting their position with needles. We ensure the skewered jelly beans are different colours. The performer manages to prick himself several times. C. Several tubes are put in place using needles, which will go through the mass.  D. Different tubes.  Jelly beans are positioned in the inside part, some just touching the tubes, others have the tubes running through them.
It’s possible to see how light comes through the coloured pathway of jelly beans. As you look through some of the tubes, colour can be seen at the end. The jelly beans seem to be dissolving, possibly as a reaction to the alginate.
Conclusion: intuition of “walled” elements gives a feeling of thickness in matter.  Light can be delivered, but at the same time it’s as if we become its baggage which it takes inside.  It’s also possible to think of a formwork which has disappeared instead of a missing formwork. This is somewhat like a technique for a constructor of pyramids, or like using ice as a dead weight in the Sahara Desert.
4. the engine in a Cherokee
We search for electric and combustion engines on the internet. We also open up the hood on a Cherokee Unlimited and a Grand Cherokee. This time we only look. The different elements such as tubes, metal boxes and bars go in and out, they duck into the jumble of metals and plastics only to come out again a few centimetres further along. Or then again, not. Their rounded edges prevent it from being perceived as a solid mass. They all seem to be elements millimetrically apart from one another.
While undertaking research we come up against a brain with all its protuberances, its grey matter, its shadows and its areas of activity.  They are different in each person, different according to the sun which shines upon it. 
Conclusion: Sometimes it’s difficult to distinguish between content and continent, between what is hidden and what it is hiding. There is team work here.
Roughness gives a vast feeling of heaviness, of seriousness, particularly if curved shapes predominate.
The outcome is:
Composite: composite: made up of disparate or separate parts or elements; compound. A picture, photograph, or the like, that combines several separate pictures.