‘The task of experimental artists is to deliver questions rather than answers. Experimentation then becomes a process of questioning, testing of hypotheses, and questioning again, iteratively.’ [1]

Francois-Joseph Lapointe, Professor at the University of Montreal stated in a journal titled: ‘On the Role of Experimentation in Art (and science)’. Lapointe calls on the purpose and importance of experimentation on the developmental process of an artwork. Experimentation is key to uncovering new avenues for innovation and simultaneously distinguishing others as irrelevant. Through the physical production of making, it allows a constant push-pull of risk and failure, resulting in an innovative outcome.

For an artist, the imperative nature of creative experimentation enables the testing of various materials, tools and techniques with room for ‘trial and error.’ During the process of tests, sooner or later, you will find a promising effect; and from that, it will lead you on a course of numerous other possibilities to explore. In partnership of material exploration, looking into other artist’s approaches of materials and concepts assist in pinpointing areas previously explored and gaps that are yet to be explored. This research and exploration is key for the potential of artistic innovation.

At the beginning of semester, I sourced very old marble that was passed down through generations of a family located on the outskirts of Oakley, Victoria. Having sourced countless varieties of marble, featuring all sorts of colours, shapes, sizes and patterns, I knew I felt compelled to work with this material, not withstanding a lack of skills and experience in working with such a difficult material. With no set vision of the outcome, I chose to explore through experimentation to help direct the work.

My process initially commenced by meeting with technicians from the Southbank workshop to the FabLab and the NExT Lab where I had countless inductions and discussions on the possibilities the facilities and available tools could provide in working with marble. Once I’d grasped some concept of the physical potential of these tools, I began to put to use all I had learnt.