This week I have been working towards the installation of the interim show at NUA, a crucial point in my practice showing the current things I am working on, in relation to the title, LIMINAL. (for assessment purposes I have a critical evaluation located in a research file and in ASU1 documentation) Setting up an exhibition or every exhibition I have done to date has aways been a learning curve, for instance I have never displayed a large piece of work before, a split baton was needed! (and in my opinion looked very sophisticated once displayed in the gallery). This piece had to of been one of my most liberating pieces, I have challenged myself working with projections, colour and scale. For this interim piece I was greatly inspired by Giuseppe Penone drawing the Imprint Series, where he would project a small piece of a thumbprint and re draw it on a large scale. This really got me thinking how I could incorporate some of my Sedgwick drawings into my other projects, and it came to the laborious nature of choosing a small fragment of a larger drawing to produce this Liminal piece.
Below shows detail of Pulverum Particula 4.3
A piece, if viewer is intrigued to find out what the drawing is, need to translate the information (A form of discourse and exposition)
During a critique there were a few helpful suggestion that perhaps I need to consider:
Overall, the purpose of my drawing is to analyse the history of it, from the renaissance period to John Ruskin, where drawing was a form of recording elements and museology objects. If anything, I would like to see these prints and even the plates in a cabinet of their own, a carefully constructed structure that conforms to the museum as well as the gallery.
For RIPU this week I have been analysing my concepts for the research report. I have been engaged in a lot of reading around the purpose of drawing and its archival qualities. I have decided that this is someone crucial to write about. The majority of my research report mirrors the investigations I have undergone throughout my experiences working with the Sedgwick Museum. For this I aim to write chapters around the museum aesthetic, hidden objects and how curators choose what is valuable to their collection.
This week I have also been working on some boxes, a plan for bigger works which I need to map out to get a bigger picture. At the moment I am battling with the museum and the gallery, finding a bridge in-between, as I aim (for future works) to construct my own cabinets for my drawings to be displayed. For this I have been particularly inspired by Jessie Brennans 'The Cut, 2011 where she places a drawing sized 29.7 x 504cm in a long cabinet. This thinking has lead me to where my research fuels my practice, and for this unit I intend to submit a box that houses a collection of drawings, that when strategically placed make a longer and bigger image. They aim to be presented a small rarities, and should be when handled , be in a controlled environment held with gloves.
Susie mentioned in a tutorial I had recently that I may need an instruction on this box so that audiences know how and if they should open it. Here are some bullet point suggestions that I need to work on:
Barker, E. (ed.) (1999) Contemporary cultures of display. New Haven: Yale University Press.
Brennan, J. (2015) The cut. Available at: http://www.jessiebrennan.co.uk/the-cut/ (Accessed: 29 November 2015).
Perry, G. (2015) Playing to the gallery: Reith lectures, 2013. United States: Blackstone Audiobooks.