This week I have been working on the the concept of my work and how it translates to audiences. I recently had a tutorial with Paul, and one of the main points of discussion was how the images of the work can be too fragmented, is this what I want for the work? For the audience to be engaged in an investigation or to reveal the obvious?
Personally I think the obvious is too easy, there needs to be intrigue, a lead up to the final image? Laurence, a peer at the university suggested that a trail would be interesting to the work, small fragments of drawings that lead up to the bigger image (the actual object, or in this case dust fragments). I have also been thinking about the terms of language for the titles of the work and how they would be reviewed to an audience. Thinking more about discourse and exposition, I think it would be interesting to play on the lost language of Latin, as I have noticed when investigating museum collections they are translated into latin, something which I have to translate to understand the meaning of the object. Latin is something that is not learned in general education anymore, therefore I think it would be interesting to present a title for my interim piece in a language which the viewer will have to translate to find out exactly what it is they are looking at.
With this thinking, I have been working on a series of drawings that change the way I work with pencil. Working with inks and watercolour pencil to create an illusion of the drawing, a distorted image, a recreation of drawings I have already made, transformed through an new medium. With this i decided to create these small drawing/ paintings and I hated the outcome as they looked very painterly, and resonated space odysseys (something which is interesting, but not for the outcome of my work) with that I began investigating way of which I could transform these images, and macro photography was a keen interest.
Below I have created some images of macro photography from my paintings, they create an illusion of a landscape. I have taken photographs of different points of one singular drawing, and with the inverted image they all piece together into a final outcome (mirroring the way 17th Century Paintings are displayed, see Collection of Art and Curiosities by Frans Francken II 1581 - 1642 ).
Drawing through a Macro Lens (before inversion)
Edited and Inverted through photoshop
I really find these images interesting to my practice, they transform an ordinary image into something else. They present a duel meaning of intrigue which I am hoping to achieve in the outcome of theses works. I think as the deadline is so near, that these works are something to expand on and push further I aim to create more sketches of possible ideas and exhibitions which will further push the concepts of my practice. (More is yet to be defined, this is the beginning stage)
This week for RIPU, I have been working towards my research report - outlining a title and the main points which I aim to discuss. It is hard to accumulate 2000 cohesive words into such a small text when they subject I aim to write about is huge. I have a title (which needs development) which I am working on: Archiving: How identified hidden objects in the Sedgwick Museum of Earth Sciences create a focal point on neglected spaces.
Through this research report I aim to discuss my investigations through my time drawing at the Sedgwick Museum of Earth Sciences, including the purpose of an educational museum, artist involvement and why drawing has suddenly stopped in the museum itself. (Technology is overriding the archival system)
For practical work this week, I have been engaged in a etching workshop a traditional method of working which I have wanted to do for some time now. For RIPU, I am currently working on a box which will hold a publication I am working towards holding all the findings from museums. These aim to present acts of previousness, and rarities. This got me thinking about the copper plate with etching, as seen in the Norwich Castle, copper plates are often on display, whereas the print is not. I find this utterly fascinating.
With this workshop I aim to create a series of copper plates ready for etching, and set inside a box, wrapped and safely deposited in a box of curiosities that when opened make a large image. For this publication that I am working towards, I aim for the viewer to investigate the qualities of the work that was involved by folding out the pages and scrutinising the images.
Here are some of the prints I made from the workshop:
1st Copper Plate Etching and blue Ink
For RIPU I am engaged in some crucial readings for my research report that also capture qualities of the work I am making:
Garner, S. (2008) Writing on drawing: essays on drawing practice & research . Bristol: Intellect.
Foucault, M. (1970) Order of things : an archaeology of the human sciences . London: Tavistock.
Lang, C., Reeve, J. and Woollard, V. (2006) The responsive museum : working with audiences in the twenty-first century. Aldershot: Ashgate.