This week for ASU1, I spent one day drawing at the Sedgwick Museum of Earth Sciences placing my work within the hidden collections and continuing with a drawing in situ (see below). I am doing this because I want to challenge my process with drawing and the act of perception (specifically aimed at audiences). Through this process, I go through locked draws choosing objects with historical significance, but also markings that cannot be captured by a camera lens.
Mostly because with the trained eye, you can visualise what you see. Scrutiny is key when drawings these objects you can capture all the little details through drawing. Whereas (from my research and practice development) a photograph becomes slightly insignificant, as a photograph is capable of capturing the whole object, and the details almost become blurred. Through this thinking I have decided that my ASU1 project resides around the act of perception of looking closer. This relates to the concepts of Susan Collis' practice, as I aim to question the interpretation of object and how I as the artist can present them differently. This thinking has lead me right back to the 17th century, where the first natural history illustrations were made under the influence of cabinets of curiosity and Darwin's voyages. This was a method of recording the most important details of a species or specimen.
From this I have been experimenting with my drawings and the amount of detail to present to the viewer. The Responsive Museum is proving to be a critical text for my practice, in particular with the title of this unit: Discourse and Exposition, where this book illustrates how to engage collections with audiences of the twenty first century.
This week I also had a tutorial with Paul Fieldsend - Danks, and it proved to be very tough (perhaps this is what was needed) there are so many things that I need to think about such as exposing my work, and get some sort of feedback on it.
I think for the past couple of weeks I have not been so sure what work I want to make for my RIPU unit. A lot of my research centres around the politics of value in the museum institution, specifically Michael Thompson's Rubbish Theory and Baudrillard's, System of Objects. With this I have planned an exhibition at Thirteen A, gallery in Norwich to test and expose my work to new audiences (outside of the museum). Value and the torn image has become crucial to my practice. I have been thinking about previous exhibits at the British Museum and the Natural History Museum, where they display broken pieces of parchment, depicted as rare and valuable to the collection. This is where my thinking comes in. The object hidden in the museum space is presented through drawing and then translated through gallery exhibitions, giving the object purpose and value. The drawing is torn like a puzzle for the audience to piece together, and reach that eureka moment (in reference to Susan Collis). To signify objects importance from the 17th century to the 21st. RIPU intends to explore how a drawing has the power to record details we cannot see through different lenses and forms of drawing experimentation. The surface of objects presented through a torn image changes the value and worth which is something I intend to investigate. It is a transient object, something in-between rubbish and value.
Things to question for RIPU:
Baudrillard, J. (2005) The system of objects. Revised edn. London; New York: Verso. (Radical thinkers, 3).
Ikon Gallery. and Collis, S. (2010) Since I fell for you. Birmingham: Ikon Gallery.
Thompson, M. (1979). Rubbish theory. Oxford: Oxford University Press.
Drawings in Situ
RIPU - Work in Progress for Thirteen A - The Torn Image
Exhibition Title: 'Oh'