This week I have been trying to challenge and push my practice because I have felt it is becoming quite repetitive (specifically with my boundary drawings). During this time I have had an additional one to one tutorial with Judith Stewart to discuss my concerns and ideas, it is clear that I have two separate projects that combine together and mirror each other. Judith suggested that I should become experimental with my approach:
I am doing this because I want to challenge how ambiguous the object can become. The more abstracted it is the more curious it becomes. As previously mentioned in my last journal, Susan Collis frequently talks about the eureka moment, and I have been clinging to this aspect for my ASU1 project: that moment when you when you realise what the drawings is.
With this thinking, I need to change the objects that I am drawing something that connects this project to RIPU. I'm thinking about the everyday ephemeral object within the museum: sponges that protect artefacts and dust sheets. This thinking has become apparent in the new series of drawings I am working on.
Why not draw in ink to push the drawings and objects further, a new level of perception and distortion?
I have become quite fascinated by the small details of my original drawings which are intact small dust fragments from museum draws.
& Graphite Drawing
For next week I aim to push and develop the stages of my drawings, and explore its context in scale. During the developments of the interim show I am going to use this opportunity to conglomerate all my experiments by trying out something new in the forms of a projection drawing. I need to change the way I draw something, instead of it being perfectly completed.
Books I have found particularly interesting for the engagement of my audience:
Lang, C., Reeve, J. and Woollard, V. (2006) The responsive museum : working with audiences in the twenty-first century. Aldershot: Ashgate.
This week I have been working towards my solo exhibition at Thirteen A titled Remnants, which illustrates the theories of the rubbish object, its usefulness,transformed into a drawing of microscopic qualities.
(Below illustrates some work in progress that will be exhibited in the show)
Drawings in progress
The torn image
The importance of rubbish and value is crucial to my practice specifically for RIPU. For comparable values I have visited the British Museum and discovered that drawing is more apparent in there collections as opposed to the Sedgwick Museum where they are muted behind the objects.
Thinking about the work that I am going to make for this project, it is to my understanding that I need to push the developments of my practice into a wider engaging audience, which is why I am working towards a solo exhibition outside of the museum institution.
For the project itself, I am going to collect together all knowledge and findings in a published book, where rubbish comes together as valuable product. With these drawings and for the success of the book, I would like to quote visitors reactions with the drawings to illustrate their understanding.
With this project I have been reading some chapters of Museums and Popular Culture, which I think is going to be the basis of my research report, questioning the values of objects, their status and importance. But also a critical evaluation of artists and the museum, where they fit into the institution. Next week for RIPU, I am going to think about the drawing in the terms of the sculpture, as I think the crumpled nature of a drawings is quite fascinating.