16th April- Fluid Praxis Installation//reflections//documentation
Fluid Praxis installation reflections//documentation
Today was the installation of the fluid Praxis exhibition which is taking place internally in NUA. Research within fine art for me is such a vital and key area as it adds a depth to the practice that visuality can not always hold up. Research and investigation shines a new light on the themes being investigated. The social themes that art often works with are not investigated in the same way in any other field. The work we installed today is investigating things in a visual mode. Merging differing practices together. We had many artists propose to be in the exhibition but very few actually tuned up. This has been a reoccurring theme over the course of the Easter holidays as we have struggled to contact artists and correspond in terms of research and work they wanted to present. Further, and disappointingly the artists that have now attended and exhibited have very little work to show also. Therefore the space has turned out to be very empty and lacking in sketchbooks/research files and a like. This to me is a massive disappointment as my entire practice is based on the vitality of research and the opportunities that research and investigation can bring. I was exhibiting and curating today meaning that working between the two was incredibly challenging for me. I struggled to organise everyone else while also organising my own space, work and positioning/personal curation. Myself and the other two curators met earlier to ensure we would have enough time to get everything done yet we were left waiting for artists to meet us there and install their work. I think this is a problem we knew we would face with an internal exhibition. I think many students have proposed to be in this exhibition as a ‘filler’ in panic that they haven’t got enough content for this unit. However, the topic and theme of the exhibition was so much more than that. I have visions of a much more well considered exhibition integrating a number of different research and practice highlights. This therefore has been lacking. Thankfully Louisa’s work is interactive and mine interchangeable as the viewer ideally lifts certain items. However, overall much of the work will live and die on the walls of the gallery. I have booked a Critique on Wednesday to discuss all of this with the tutors. The crit will only be open to the curators of the exhibition due to the fact I want to discuss the downfalls of the exhibition and the initial plans and ideals we/I had for the project.
Own work reflections
Today I installed two pieces of work that I haven’t shown on exhibition before. The first is the HM non consensual collaborative work which consists of a film work and the hard copy of the exported document loosely pinned to the wall. I very rarely display work on the walls however from a curatorial point of view it was best to position these here. I used pins and tacked each piece of paper up in a tile sequence. The film is then playing through a projector on the ground. The projector is slanted slightly to distort the image a little. This was not planned however the film is more a documentary of the physical and the distortion investigates themes of consent and permission. The fact the words can barely be read properly from the projected film offers a very clear commentary of the document without crossing legal boundaries. I did this not because I don’t want my work to not be activism but I want the viewer to have an opportunity to decide for themselves what the work registers as. This installation was an adaptation of the interim exhibition piece, however I used a different document and filmed the edit. The hour long film captures the personal interaction that the interim exhibition did not. Further to this. The document pinned up in the wall with markings, encouraged those viewing the work to approach it and see what I ‘edited’ into it. I also wanted to make it clear that this was my personal interpretation. I do not want to elevate my opinion above others so therefore leaving the hand made marks was important.
The other piece I showed in this exposition was my ‘tiles’ and poetry work. The clay works are shown in a white cabinet. Originally they were going to be placed on shelves low to the floor however I felt that the cabinet would be better suited as they investigate themes of archival nature and also themes of interaction. The lack of glass over the clay work breaks the concept of a strict archive and encourages the viewer to pick the world up and directly handle them. Then direct handling is important to me as the viewer reads the poetry. I considered furthering this still and inviting the viewer to make a small clay work in response to the poetry. However I feel I should plan this aspect slightly more and instigate it on the opening evening so the bag of clay does not dry out and become unusable.
HM Non Consensual collaboration
HM Non consensual collaboration
Investigative clay works
Research presentation
Accompanying poetry
Today was the installation of the fluid Praxis exhibition which is taking place internally in NUA. Research within fine art for me is such a vital and key area as it adds a depth to the practice that visuality can not always hold up. Research and investigation shines a new light on the themes being investigated. The social themes that art often works with are not investigated in the same way in any other field. The work we installed today is investigating things in a visual mode. Merging differing practices together. We had many artists propose to be in the exhibition but very few actually tuned up. This has been a reoccurring theme over the course of the Easter holidays as we have struggled to contact artists and correspond in terms of research and work they wanted to present. Further, and disappointingly the artists that have now attended and exhibited have very little work to show also. Therefore the space has turned out to be very empty and lacking in sketchbooks/research files and a like. This to me is a massive disappointment as my entire practice is based on the vitality of research and the opportunities that research and investigation can bring. I was exhibiting and curating today meaning that working between the two was incredibly challenging for me. I struggled to organise everyone else while also organising my own space, work and positioning/personal curation. Myself and the other two curators met earlier to ensure we would have enough time to get everything done yet we were left waiting for artists to meet us there and install their work. I think this is a problem we knew we would face with an internal exhibition. I think many students have proposed to be in this exhibition as a ‘filler’ in panic that they haven’t got enough content for this unit. However, the topic and theme of the exhibition was so much more than that. I have visions of a much more well considered exhibition integrating a number of different research and practice highlights. This therefore has been lacking. Thankfully Louisa’s work is interactive and mine interchangeable as the viewer ideally lifts certain items. However, overall much of the work will live and die on the walls of the gallery. I have booked a Critique on Wednesday to discuss all of this with the tutors. The crit will only be open to the curators of the exhibition due to the fact I want to discuss the downfalls of the exhibition and the initial plans and ideals we/I had for the project.
Own work reflections
Today I installed two pieces of work that I haven’t shown on exhibition before. The first is the HM non consensual collaborative work which consists of a film work and the hard copy of the exported document loosely pinned to the wall. I very rarely display work on the walls however from a curatorial point of view it was best to position these here. I used pins and tacked each piece of paper up in a tile sequence. The film is then playing through a projector on the ground. The projector is slanted slightly to distort the image a little. This was not planned however the film is more a documentary of the physical and the distortion investigates themes of consent and permission. The fact the words can barely be read properly from the projected film offers a very clear commentary of the document without crossing legal boundaries. I did this not because I don’t want my work to not be activism but I want the viewer to have an opportunity to decide for themselves what the work registers as. This installation was an adaptation of the interim exhibition piece, however I used a different document and filmed the edit. The hour long film captures the personal interaction that the interim exhibition did not. Further to this. The document pinned up in the wall with markings, encouraged those viewing the work to approach it and see what I ‘edited’ into it. I also wanted to make it clear that this was my personal interpretation. I do not want to elevate my opinion above others so therefore leaving the hand made marks was important.
The other piece I showed in this exposition was my ‘tiles’ and poetry work. The clay works are shown in a white cabinet. Originally they were going to be placed on shelves low to the floor however I felt that the cabinet would be better suited as they investigate themes of archival nature and also themes of interaction. The lack of glass over the clay work breaks the concept of a strict archive and encourages the viewer to pick the world up and directly handle them. Then direct handling is important to me as the viewer reads the poetry. I considered furthering this still and inviting the viewer to make a small clay work in response to the poetry. However I feel I should plan this aspect slightly more and instigate it on the opening evening so the bag of clay does not dry out and become unusable.
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