Passing through the statue hall in the V&A, I did a double take. This statue had been plonked next to the familiar classical permanent ones. Looking at it, it seemed to have a theme of modern notions of beauty – fashion accessories floated from the bust’s hair. The presence of the bust was a good touch to the V&A’s collections during Design Week.
Here’s the text on the panel, I’m afraid it’s a bit too small to see in the photo below.
‘Industrial Revolution 2.0: How the Material World Will Newly Materialise
3D printing (a form of Additive Manufacturing) is a process wherein a computer reads a set of data (the ‘design’) from a digital file, and through the application of laser technologies, solidifies (‘prints’) successive layers of various materials, thereby forming and object.
The fabrication process is not quickly becoming ubiquitous, and is permeating all the areas of the contemporary material world.
To emphasise the ‘viral’ nature of this phenomenon, curator Murray Moss has commissioned eight 3D printed projects; these are located throughout the V&A in response to the Museum’s collections.
‘Bust of Lady Belhaven, 1827’, re-imagined with hat by Stephen Jones, 2011
Produced by Materialise, Belgium
3D laser ‘scanned’ and ‘printed’ in epoxy resin through Additive Maufacturing
Renowned British milliner Stephen Jones, working from a 3D ‘scan’ of this marble bust, has redesigned it with the addition of a remarkable hat.
Referencing Lady Belhaven’s Scotting heritage, her love of music, and her dreamy visage, Jones crowns this lovely woman with his tra la la tiara.
Is that a smile we see on her lips?’