I have NO CLUE where I stand right now as far as how I want my work presented because I really do not have any work yet that I see being shown together. This said, I am going to propose a more out there idea than what I did last semester, just so I can get some feedback.
I am hoping to get at least ten pieces made which I feel really complement each other and read together. The more I can show the better because I am want to be able to vary the spacing creating a sense of clumping and dispersing.
As far as the space goes, I see myself surrounded by three walls ideally. I want my works to start off on the walls in the conventional fashion, but gradually work their way off the walls as they wrap around the cubby-like space. So ultimately, you will be walking into a room, but the fourth “wall” will be my work hanging from the ceiling (or a structure if need be). I see this set up as paralleling my idea of the mind completely. The floating images will allow you to look both at the images and at the rest of the gallery at the same time. The flow of the work, hopefully, will suggest a sense of fading in and out of thoughts—conscious to subconscious.
I would prefer not to frame my work, but rather coat it in something like resin so that they can curl and seem more animated and sculptural. I hear resin yellows, though, which is no good. Is this true? If so, any ideas as to another way to achieve this?
I see myself exhibiting portraits in the gallery. If I continue down the path I am headed, it is possible, maybe even likely, that the portraits will be in pairs. Each pair would consist of 2 pictures of the same person, one in a stripped down studio portrait, and one with more contextual information. So as far as spacing is concerned, there would be varied space between each image.
Since I'm starting fresh here the details about format still need to be worked out. I think that I want: - the images to be in color - the final works to have some sort of texture derived from paper or coating of some sort but which is not shiny because i want the texture to pull the viewer into the work but not reflect back and serve as a boundary - the works to be fairly large, upwards of 2 feet in width so that the viewer can study details and really enter into the portraits - i do not want to put glass or plexi-glass in front of the pictures - i want to figure out a different way to hang my prints, while the magnets worked well i found that i personally was distracted by them which disappointed me. this might mean that i mount the prints on some type of firm board so that they can be hung in a more traditional manner. experimentation with this should start soon for me.
I am still working with paintings that are more panoramic. So I suppose if I have 6 or 7 of the paintings that I am doing now, I would want a good amount of space between them. They are little bigger than the pieces from the fall – but I can see myself having a lot of work still in the smaller range. Each painting is probably going to end up having its own kind of identity or sense of place, so I want them to stand on their own. I would love to have at least one work that is larger – almost like a mural. Since I am working with this sense of place, I want to create an experience of a work that is larger in scale, and more in proportion to being in an actual room. But I am probably going to end up having more smaller pieces than larger. I would want the larger work(s) to be on a separate wall from the smaller paintings – and I’m thinking maybe on a one or few of the movable walls – to act like a sort of stage design or set. That’s all I can really envision as of now.
What I've been working on are smaller paintings from my window. Some are more abstract than others, and I've been thinking about most of them more as studies than finished paintings. I want to try doing them again larger--at least the ones I like. I've been working square paintings some in the last couple of weeks but I'm finding these hard and less interesting than the rectangular ones I was working on right when I came back.
What I'm envisioning right now for April is showing about 3 smaller works (about 16 x 20 in.) and a few larger works that you can enter into more (about 4 x 5 ft.?). I'm going to start trying larger works this next week and see how they go.
The main thing is that I expect I will have works that are large and small, and they'll be in color, but probably not extremely bright color--more naturalistic and with imagery that is natural//abstracted from nature.
Since I am still experimenting with my medium, I am not really sure how I want these works of art to be presented in a gallery space. However, I am currently working on animating my drawings and I want some form of projection. I imagine them to be in big scale. I would love to have some form of built wall that separates my space from the rest of the gallery. I want to create a place that is overwhelming and very intimate. I see myself having at least ten drawings. The projection is something I’m still figuring out. I am still deciding if I want the animation to be projected on paper, on the built wall(s) or on my drawings itself. Most of my work will be in big, but there will be some small drawings that I want to be in series. My work will still be in black and white, because I want it to be the traditional form of writing. I want it to be historic. The projections will also be in black and white. I imagine my work will take up ¾ of the length of the wall. I want the space to be enclosed, so that it will feel that my viewers will be entering my world once they enter my space. So far, this is all I can think of, but after I finish with experimenting the projection and animation, I will get a real feeling of how I want to presents these works.
The gallery is a setting that is currently clashing with many of my intentions but I believe I can exploit such a setting. Right now I am feeling like the best way to internalize my work is to make it distinctly not the artwork itself, but a representation that both redirects the attention of the audience out of the gallery, and provokes a reflection on the audience’s relationship to the art object. I have found two very large display cases that are not being used and are in disrepair in a shed at chancellor’s point. I would like to use these display cases to show models of the work under the protective glass that characteristically houses artifacts and precious materials of our past. By putting a model landscape in these display cases, it will read much like a terrarium, a tiny microcosm that is at our hand to change and manipulate. The aerial view of the model train-esk scene will be both a toy and an artifact- a diorama of natural history if you will. Along with this, I would like to reinforce the reality of the situation with photographs and writing that shows the real site and the movements that are being made on location. There is also some film that I may use that is an example of the quality of site-specific learning environments. The photographs/film would not be in the display cases, but on the surrounding walls accompanied by writing and illustrations.
Exhibition proposal:
ReplyDeleteI have NO CLUE where I stand right now as far as how I want my work presented because I really do not have any work yet that I see being shown together. This said, I am going to propose a more out there idea than what I did last semester, just so I can get some feedback.
I am hoping to get at least ten pieces made which I feel really complement each other and read together. The more I can show the better because I am want to be able to vary the spacing creating a sense of clumping and dispersing.
As far as the space goes, I see myself surrounded by three walls ideally. I want my works to start off on the walls in the conventional fashion, but gradually work their way off the walls as they wrap around the cubby-like space. So ultimately, you will be walking into a room, but the fourth “wall” will be my work hanging from the ceiling (or a structure if need be). I see this set up as paralleling my idea of the mind completely. The floating images will allow you to look both at the images and at the rest of the gallery at the same time. The flow of the work, hopefully, will suggest a sense of fading in and out of thoughts—conscious to subconscious.
I would prefer not to frame my work, but rather coat it in something like resin so that they can curl and seem more animated and sculptural. I hear resin yellows, though, which is no good. Is this true? If so, any ideas as to another way to achieve this?
I see myself exhibiting portraits in the gallery. If I continue down the path I am headed, it is possible, maybe even likely, that the portraits will be in pairs. Each pair would consist of 2 pictures of the same person, one in a stripped down studio portrait, and one with more contextual information. So as far as spacing is concerned, there would be varied space between each image.
ReplyDeleteSince I'm starting fresh here the details about format still need to be worked out. I think that I want:
- the images to be in color
- the final works to have some sort of texture derived from paper or coating of some sort but which is not shiny because i want the texture to pull the viewer into the work but not reflect back and serve as a boundary
- the works to be fairly large, upwards of 2 feet in width so that the viewer can study details and really enter into the portraits
- i do not want to put glass or plexi-glass in front of the pictures
- i want to figure out a different way to hang my prints, while the magnets worked well i found that i personally was distracted by them which disappointed me. this might mean that i mount the prints on some type of firm board so that they can be hung in a more traditional manner. experimentation with this should start soon for me.
I am still working with paintings that are more panoramic. So I suppose if I have 6 or 7 of the paintings that I am doing now, I would want a good amount of space between them. They are little bigger than the pieces from the fall – but I can see myself having a lot of work still in the smaller range. Each painting is probably going to end up having its own kind of identity or sense of place, so I want them to stand on their own. I would love to have at least one work that is larger – almost like a mural. Since I am working with this sense of place, I want to create an experience of a work that is larger in scale, and more in proportion to being in an actual room. But I am probably going to end up having more smaller pieces than larger. I would want the larger work(s) to be on a separate wall from the smaller paintings – and I’m thinking maybe on a one or few of the movable walls – to act like a sort of stage design or set. That’s all I can really envision as of now.
ReplyDeleteWhat I've been working on are smaller paintings from my window. Some are more abstract than others, and I've been thinking about most of them more as studies than finished paintings. I want to try doing them again larger--at least the ones I like. I've been working square paintings some in the last couple of weeks but I'm finding these hard and less interesting than the rectangular ones I was working on right when I came back.
ReplyDeleteWhat I'm envisioning right now for April is showing about 3 smaller works (about 16 x 20 in.) and a few larger works that you can enter into more (about 4 x 5 ft.?). I'm going to start trying larger works this next week and see how they go.
The main thing is that I expect I will have works that are large and small, and they'll be in color, but probably not extremely bright color--more naturalistic and with imagery that is natural//abstracted from nature.
Since I am still experimenting with my medium, I am not really sure how I want these works of art to be presented in a gallery space. However, I am currently working on animating my drawings and I want some form of projection. I imagine them to be in big scale. I would love to have some form of built wall that separates my space from the rest of the gallery. I want to create a place that is overwhelming and very intimate. I see myself having at least ten drawings. The projection is something I’m still figuring out. I am still deciding if I want the animation to be projected on paper, on the built wall(s) or on my drawings itself. Most of my work will be in big, but there will be some small drawings that I want to be in series.
ReplyDeleteMy work will still be in black and white, because I want it to be the traditional form of writing. I want it to be historic. The projections will also be in black and white. I imagine my work will take up ¾ of the length of the wall. I want the space to be enclosed, so that it will feel that my viewers will be entering my world once they enter my space.
So far, this is all I can think of, but after I finish with experimenting the projection and animation, I will get a real feeling of how I want to presents these works.
The gallery is a setting that is currently clashing with many of my intentions but I believe I can exploit such a setting. Right now I am feeling like the best way to internalize my work is to make it distinctly not the artwork itself, but a representation that both redirects the attention of the audience out of the gallery, and provokes a reflection on the audience’s relationship to the art object. I have found two very large display cases that are not being used and are in disrepair in a shed at chancellor’s point. I would like to use these display cases to show models of the work under the protective glass that characteristically houses artifacts and precious materials of our past. By putting a model landscape in these display cases, it will read much like a terrarium, a tiny microcosm that is at our hand to change and manipulate. The aerial view of the model train-esk scene will be both a toy and an artifact- a diorama of natural history if you will. Along with this, I would like to reinforce the reality of the situation with photographs and writing that shows the real site and the movements that are being made on location. There is also some film that I may use that is an example of the quality of site-specific learning environments. The photographs/film would not be in the display cases, but on the surrounding walls accompanied by writing and illustrations.
ReplyDelete