Pascal Marcel Dreier

  1. Multispecies Archaeology

  1. Yves Saint Laurent’s Opium and the Opium Wars in China
  2. Dreaming of CRISPR 
  3. Interspecies Cannibalism
  4. Chroma Politics
  5. Aquarium
  6. Affect and Interface
  7. Becoming (with) Monsters

  1. Human/Being

This site is an ongoing project and is updated daily. 
Here you can find the archive ︎

    Working at intersections of art, design, strategy and research—by crossing and dissolving boundaries between speculation and realities, research and practice, but most importantly between species. More information ︎

Academy of Media Arts Cologne Annual Exhibition – Rundgang (10.-14.)

ImprintArenaMedium, Insta ︎

In detail technical documentation

1. Documentation of the casting process ︎

1 To prepare the plaster molds, they are covered with the clay mineral talc in powdered form (talcum). This prevents the porcelain to stick to the surface of the plaster. 

Fig. 1

2 The molds are each consisting of two parts. In this step they are put together with adjustable straps. The lock (fig. 10) built into the molds prevents displacement

Fig. 2

3 Before the porcelain can be poured in, it has to be stirred up by hand until no air bubbles are rising up to the surface anymore and the porcelain feels nice and smooth. Afterwards stirring can go on for some minutes with a wooden stick. 

Fig. 3

4 The porcelain has to be strained before casting to prevent clumps or in this case bigger bone pieces from messing up the objects surface and stabilty. 

Fig. 4

5 Filling up the mold with porcelain. The mold has to be refilled continuously (the porcelain will shrink while drying).  

Fig. 5

6 Before the porcelain can be poured out, the mold has to be shaken for about one minute. This is to make the rest of the material fluid again to ensure a good pouring behaviour – resulting in a nice and even inner surface.

Fig. 6 & 7

7 Pouring out the remaining porcelain

Fig. 8

Fig. 9

With a good quality plaster mold it is possible to recast up to 30 times. 

Fig. 10