This week I've been thinking more about objects in the museum institution, objects have effect our environments and the world we live in. Through visiting a museum it communicates an experience of knowledge that is already known, and as viewers we want to learn from it. My focus is objects that are presented in the museum but are concealed and hidden from public consumption. My practice evaluates theories of the accessioned and de accessioned objects, subject to value and the politics of the museum institution. Every detail, every imperfection is transcribed slowly absorbing the object. Through this meticulous process, the work alongside the environment plays on the hidden, remaining unfinished, a question that which I intend to expose to - What goes in the missing spaces?
During discussion with Judith Stewart in regards to my Learning Agreement (draft) I've begun to think more about my practice and research development. Myself and Judith discussed points such as the value of objects, how this leads to politics regarding the accession process of objects. Through this thinking I began to ask questions: Why are objects of no value important to the status of my practice? Putting this into context, I find that through the laborious nature of drawing and examining objects, I present a new way of looking by presenting these drawings outside the institution it was made.
Through this I mentioned that the barrier and the hidden corresponds to my thinking. Discussing this, Judith suggested that I emphasise my research on the politics of value, why artists have worked with museum concepts and scale in regards to the presentation of my drawings.
There are some suggestive reading material which I need look at such as:
More questions will follow next week....
Vija Celmins 'Untitled (Desert - Galaxy)