Work in Progress
For the Sedgwick Museum of Earth Sciences
This week I have been thinking back to a recent tutorial with Paul, on the placement of my drawings and who I want to view them. For a while now, I have been making work for the museum institution as I believed this is where I would like my work to be shown. Expanding on this, I have recently had the opportunity to show some work in a contemporary setting in a small gallery, located in Norwich,Thirteen A - to test the expansion of my work to a range of wider audiences.
I have found that with the white cubed setting, the work appears to be less cluttered, crisp and clean - a breathing space for the drawing itself to speak. From this experience I have noticed that the audience appears to be more engaged U.on the days that the show was open, I had visitors mention that the drawings look like landscapes, that they could almost be objects themselves. REMNANTS, was a show that so far explored all my thinking on the value of the object including the phenomenology of perception (see RIPU for further explanation of this project) combining both ASU1 and RIPU.
For the interim show, Liminal I have been working towards this exhibition as a test, to push my thinking. With this I have been working with a range of new techniques that interrupt the fluidity of the image into something broken down and enlarged. The process of this work involves one of my smaller drawings, 5x5cm enlarged through a projector and re-drawn. I believe that through this process, it pushes the purpose of the fragmentary image (see below) where the broken spaces of nothingness draw your attention to the laborious nature of the work.
For the finish of the work, I have had a recent group tutorial with Judith and she asked me a question: does this work play to the museum or the gallery?
I think for the purpose of this work it is important for me to work to the gallery, to play with its clean image, but also encompass the theories of the museum, such as labelling, framing. The finish of this work is key, I aim to have this drawing a product of value, something that mirrors the way parchment and scrolls are displayed in a museum. With this, I explained my plans to Judith about the framing of the work, a box frame with the drawing elevated in the centre. The frame itself has to play to the gallery, therefore the finish of the frame with either be white, or a very pale grey hinting at the delicate drawing lines.
Very subtle hints of colour will be placed upon the drawing, as a way to draw the viewers attention to the sections that reveal the objects pure quality.
A main question for the my audience: is this a drawing of a 90million year old object, or dust fragments?
This week I have recently discovered artists:
Samuel Langley (sunspot drawings)
Books that I have been reading on the purpose of drawing:
Bradley, F., Spira, A. and Fer, B. (2011) Anna Barriball. Edinburgh: Fruitmarket Gallery.
Garner, S. (2008) Writing on drawing: essays on drawing practice & research [E-book + book]. Bristol: Intellect.
Zegher, C.d. (2004) Giuseppe Penone: Imprint of drawing. New York: Drawing Centre.
Work in Progress
(Interim Show) Liminal
This week for RIPU, I have been working in a gallery setting up my exhibition, a conglomeration of work in the museum transitioned into a contemporary setting. For this small show i have been exploring the purpose of the accessioned and de - accessioned object and how through drawing I can change the value of rubbish into something valued and considered a rarity.
There is something about the fragility of the drawings that drew the viewers attention to the pieces that were on show. I had often in depth conversations with the viewers about the value of these drawings and the purpose of the torn image, as these drawings were once full images worked on for 50 hours and then out of impulse torn.
Shown at Thirteen A, Norwich
I have been thinking about the framed value to the drawings and how in itself depicts the product of value of something that would be discarded.
A tutorial I recently had with Suzie, I began talking about this product of value and rarity, relating back to REMNANTS and going beyond the museum object. Perhaps explore crevices of dust? With this, for RIPU I intend to create pieces of a book, more specifically pages as there is not enough time left of the unit to have it complete and bound. Suzie suggested that if the book is not complete in time have it carefully placed in a box. With this I am working on a series of images, including macro photography of recent drawings, re printed for the purpose of the box and its fragile qualities.
Documentation of REMNANTS can be viewed in the gallery on this website, and in booklet form.
Foucault, M. (1970) Order of things : an archaeology of the human sciences [E-book + book]. London: Tavistock.
Lang, C., Reeve, J. and Woollard, V. (2006) The responsive museum : working with audiences in the twenty-first century. Aldershot: Ashgate.