Rook Lane Blog

Tom Lomax arrived yesterday afternoon with a van full of bronze, fluorescent digital prints, 3D CAD (computer aided design) prints and a series of maquettes. And plenty of plinths and planks to display it all.

The contrast between the highly technical digital prints and the more traditional maquettes – that were designed to be made in bronze for a public commission in Leeds – is striking.

We arranged the pieces around the chapel and then Tom used some extremely powerful adhesive to secure the thin cylindrical plinths which will hold the 3D CAD prints. The process involved in creating these sculptures sounds like magic (the software that is used to design them is called, probably not incidentally, ‘Magics’). They are designed on a computer then turned into 3D images via Magics, before being sent to a Z Corp 3D printer which basically prints in layers – one layer is laid then the paper is returned to its position and another layer is laid on top – and eventually a 3D sculpture is built up. Abracadabra.

As the adhesive takes 24 hours to dry, we started gluing the bases onto the plinths then popped down to the Archangel for dinner whilst it dried. We headed back up around 10pm to push the plinths through the carpet tiles, from which they will protrude, and then left them overnight to firm up.

On returning this morning, we were pleased to see that the plinths were perfectly erect. We have hung the mesmerising prints on the walls, positioned the bronze sculptures and maquettes, secured the graphic prints onto their plank – and so all that is left to do is place the miniature 3D prints on their plinths.

It’s been fascinating talking to Tom about the various methods he uses in his artwork and also the concept behind his angel sculptures. He has produced a very snazzy booklet for the exhibition, with a foreword by Tess Jaray that eloquently discusses, and praises, Tom’s work and imagination.

Come along this evening between 6 and 9pm to talk to Tom before he heads back to London…

All photographs are taken by Richard Ridout.

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