This week a lot has happened, I have installed my work at the Sedgwick Museum of Earth Sciences and started working on a larger dot piece for submission. Firstly I will explain the exhibition at the Sedgwick Museum. As documented in a file (see ASU1 submission) I have been working on a series of drawings for the past two months, setting up studio in the Chalk Seas collection of the Sedgwick Museum. Resolving this project and the thesis of my work, I have tried to get my work in the museum and compare environments to the contemporary art gallery. I think for this project I have tried to work towards a resolve that is a bridge between the museum and the gallery, to question where my work fits in and how I create a museum environment outside of the museum context.
Artefact, an exhibition I have been working towards this is a series of drawings that encompass the act of looking closer and looking beyond the objects we visualise in cabinets. For a while now I have searched through locked draws just beneath the permanent collections to find small curiosities that are often disregarded and placed into storage. I have been remarkably inspired by renaissance drawings and Dr. John Woodward, who encouraged the teaching of these objects and to observe their contours through drawing. Through renaissance drawing, I have been inspired for the way they are presented in museums, for instance the Curiosity exhibition at the Norwich Castle Museum depicted Da Vinci's drawings through plains of glass so that the viewer could be enticed and look at the drawing from both sides. Taking these concepts I wanted to apply them to the work that I would be showing at the museum. Firstly a a few slight problems came up through the making of the work:
I think for future developments of my work within the museum context, I would like to continue working with the Sedgwick Museum and continue to question how I can get my work back into the professional art gallery without it being a gimmick to the museum. Mark Dion is a good example of this, I enjoy the making of his work and the archaeological digs of places that are often disregarded, but I almost want to create a display cabinet that is a shadow to the museum and conforms to the gallery space. I believe this is something that I am going to continue working towards for my next unit and even the masters project.
Drawings located in the Sedgwick Museum of Earth Sciences
I felt it was important to leave the original logos to give a sense that these drawings are part of the collection.
This week I have also been working on a larger piece of one of my supporting works (that I have also submitted for the John Ruskin Prize) because I remember a tutorial I had with Paul and he mentioned something wonderful which got my thinking, because my drawings are on such a minute scale, how about changing that up by working bigger but creating the same illusion. What I want for these works is from a viewpoint the piece looks like a drawn object, but when you look closer you can see that the image is built up with hundreds of tiny dot markings. I want the audience to scrutinise this work, like I have with the object it is based upon. Below illustrates the work in progress: '6 Hours'
Cabinet Magazine, (2013). CABINET // Exhibition / “Curiosity: Art and the Pleasures of Knowing”. [online] Available at: http://www.cabinetmagazine.org/events/dillon_curiosityartandthepleasuresofknowing.php [Accessed 6 Dec. 2015].
Sedgwick Museum, (n.d.). Sedgwick Museum of Earth Sciences - History. [online] Available at: http://www.sedgwickmuseum.org/index.php?page=top_history [Accessed 6 Dec. 2015].
Royalcollection.org.uk, (n.d.). The Drawings. [online] Available at: https://www.royalcollection.org.uk/exhibitions/leonardo-da-vinci-anatomist/the-drawings [Accessed 6 Dec. 2015].
This week for research into practice I have been working on my research report, making sure everything is coherent and concise as written work often gets me a little flustered which unfortunately is reflected in my poor writing skills. Never the less I have kept my research report as simple as possible, writing about my investigations in the museum and then writing about my outcomes (the physical work) so I can reflect on the research and practice. (split into two sections). Alongside the research report I have also been working towards some plans for future projects, including the cabinets I aim to make. Including object impressions, drawings and models that illustrate smaller versions of my cabinets. During this process I have also thought about the white cubed setting and how my work could fit within the gallery space (I have some drawings of these plans located with RIPU submission) for this I have created a small model a box that I aim to transform into cabinets or draws of which when opened, drawings reveal itself, here are some images shown below of the box:
The aim for this project is to promote audience involvement within museum collections, to get viewers thinking about things beyond the artefacts they are looking upon. I am not sure wether or not I want the work to be participatory at the moment, I imagine working on this further and testing out ideas and can work out where to go from there. During the research process, I very much want the cabinets to be a focus on drawing. Which is why I have been inspired by 17th Century Wunderkammer's, the National Gallery and the British Museum where they keep the the very traditional historic way of display. These displays often remind me of the Bowes Museum in the town of Barnard Castle, where I would often visit when I was younger was always inspired by the way objects are displayed and squashed together.
For RIPU I am still engaged in the traditional methods of working, inspired by etchings of Louise Bourgeois and Durer where there is something so rare and precious about them that captures my attention to explore these concepts further.
It seems fitting to my work that I continue to work in etching and to spend some time mastering the craft, which is something I intend on working towards after submission as due to its complexities and time frame I will only be able to show works that I am working towards. For the next few weeks whilst the university workshops are open I intend to work in the etching workshop on different etching processes, to create larger prints but to also question their rarity and worth.
Thebowesmuseum.org.uk, (n.d.). Conservation. [online] Available at: http://www.thebowesmuseum.org.uk/en-gb/collections/conservation.aspx [Accessed 6 Dec. 2015].
www.rendermonkey.com, w. (n.d.). Wunderkammer: A Century of Curiosities. [online] Moma.org. Available at: http://www.moma.org/interactives/exhibitions/2008/wunderkammer/flashsite/ [Accessed 6 Dec. 2015].