Tag Archives: test

Scaffolds Arrived

Dietmar’s scaffolds have arrived.

Scaffolds in Express Post BagScaffolds arrived via Express Post on 16/09/21

This means that we can do some tests to see how the HBVPs grow in a matrix.  The scaffolds include some flat and tubular sections for initial experimentation.

MPC ScaffoldsMPCL Scaffolds – tubular structures at varying heights.

Scaffolds in Petri Dish Scaffolds in Petri Dish  – flat square structures. 

I will need to confirm with Dietmar’s group but the notations seem to indicate that the scaffolds are  medical grade polycaprolactone (mPCL) with some tubes including a  calcium phosphate (CaP) coating.

MPCL+CaP CoatingMPCL+CaP coating

MPCL+CaP CoatingMPCL+CaP coating – tube structures.

 

HBVPs growing well

The Poly-L-Lysine coating has worked well to encourage growth of HBVPs on the base surface of the glass Petri dishes.  They look comparable to the T75 Flask cells.

HBVPs growing in Glass Petri Dish
HBVPs growing on base of glass Petri Dish (no engraving) coated with PLL 13/9/21
HBVPs in T75 Flask HBVPs growing in T75 Flask – 13/9/21

Cells are also growing well in the engraved Petri dishes although it is hard to see the cells on the engraved surface.

Engraved Petri Dish
HBVPs growing on base of glass Petri Dish (with engraving) coated with PLL 13/9/21

To better get a sense of where the cells are growing, we will fix them with 4% Paraformaldehyde (PFA) and then stain them with hematoxylin and eosin (H&E). Hematoxylin has blue-purple color and stains cell nuclei.  Eosin is pink and stains proteins more generally.

Clay surface tests

Alongside 3D sculpture tests, I have also been working on some old canvases to see how the chameleon pigments work on a more 2D surface. These canvases have hand mould clay elements that resemble worms and bacteria. I must admit that I am not quite sure where I am going with this… although at the very least, it will enable me to build up layers of chameleon and UV reactive pigments.

Clay Panel

Canvas with 3D clay surface texture and first coating of chameleon pigment.

Chameleon Pigment: 3D Experiments

While I have been prepping for lab work (and awaiting clearances and media), I have been using my residency to invest in studio time and test new materials and processes that (somewhat subconsciously still) align to the themes of the Synapse project.

Over the past few months, I have ordered a stack of chameleon pigments from suppliers in Australia, China, the US and UK to test quality and colour. I have compiled a series of swatches on different substrates to determine colour shifting properties and how they layer and complement each other. So far my favourite supplier is A1 Pigments. They stock a huge range of powdered pigments including chameleon and mica pigments.

I have also tested solvents including water-based varnishes, oil-based media and wood varnish. Unfortunately water-based products are not suitable for the pigment and it works best in a polyurethane/resin base. I particularly like the results from using timber varnishes such as the Bondall Monocel Timber Varnish range. They have a slight warm amber tint which  gives the application a nice depth of colour. For crystal clear application and sealing, KBS’s Diamond Finish Clear Coat is fantastic as it is non-yellowing and super clear (although a bit expensive).

As part of my testing process, I have started to develop a series of small sculptural works that consider species and matter entanglements and the wonder of the universe.

Sculpture 1

Top view of Sculpture 1 showing chameleon pigment coated rocks formations and Titanium Aura Quartz

Sculpture 1

Frontal view of Sculpture 1

Sculpture 2

Frontal view of Sculpture 2 showing a Pyrite cluster and Peacock Ore (Bornite).

These sculptures have ‘secrets of the universe’ hidden in their base. The form of the works hints at the nature of the secret, but you would have to destroy the work to reveal it.

I really wanted the base to be a dark matt black. To achieve this I tested Stuart Semple’s Black 3.0. While the initial results were good, the black marked too easily with my messy handling. As such, I opted for black flock  instead. Not only does this coating hide slight surface imperfections, it also creates a great matt black and light absorbing coating. Now that I am making some headway on ideal flocking application, I am planning to flock some of sculptural works to create a contrast between soft velvety textures and glossy surfaces.

I should mention that was first introduced to flocking by my dear friend and fellow artist Michael Riddle. Finally, I have a purpose for my own work to ‘get flocked’. So thanks Mike.