looking back on some of my images and reflecting on plans I had made regarding what paintings would of been entered and where they would of been located I have some last thoughts.
This collection posed too many problems. Some of the works were too complex to form after multiple attempts and some were just too bland and didn’t work visually with the other (it didn’t play nice) I refer to the concept of remaking a painting titled ‘tidal barrier’. The harsh void of black would of been too contrasting with the blues and pinks that I had also proposed. Furthermore this angled shaped wall would of been good for stability for the metal paintings are heavy although it would of broke the collection up too much and a flat wall works a lot better!
This was my conceptual resolve to that, having a gentle curved wall although this proved too complex and time consuming for such little payoff.
This concept sank quickly as I started to remove all factors that wouldn’t support the viewer. I didn’t want speculation drawn to the fact that the paintings were partially covered from sight upon entering.
Here are images of the work in place, ready for assessment. The walls are white, floors clean and work up. I am ecstatic with this set up and in relation to the show in general they look fantastic. There is minor hinderance with the red wall closest to the painting ‘two people on a sharp corner’ although this is out of my hands.
As a member of the 2018 Gwanwyn festival I had placed two works in the exhibition although one was later removed! I received feedback from the curator of the space Melanie Wotton that when put in context provoked my attention during the development of my degree show exhibition.
The feedback was that the painting was visually too strong and imposed on everything else in the space. The paintings composition dominated the attention of the eye and removed attention from all other works in the space. Now coming to my degree show exhibition this had informed me to question the positioning of this particular work. Originally I hadn’t had a preference on where it would be positioned in the series although now I feel it should be central. This along with other features supported the metal versions manifestation into the gallery space.
Hoovers TVs and three piece suites (2018) (M) 870 x 1200 x 30mm
After a recent visit to Tate Modern to see Rothko’s Seagram murals for the hundredth time I found the need to document my understanding of how his paintings that are all connected by theme, colours and of course artist are all so clearly associated by curation. This curation along with other factors has had a profound impact on my degree show set up. This I think has been a constant factor throughout many visits.
The works on display of Rothko’s at Tate Modern take on their own rites as artworks due to their separation. Spaced just enough to have us as the viewer be able to spend time individually and inspect without distraction. This being said having the works encapsulated by the related paintings bestows a greater understanding for the viewer. When looking at one you cannot help but take into consideration the others. By doing this the artists devotion is pressed into my mind when viewing.
When coming to develop my own exhibition space I find a need to not simulate/ immitate but give reference to this layout method. Each painting of mine has similar cues and themes etc… Yet I wish the viewer to have the opportunity to inspect individually and then be able to take the step back and be swarmed by their relation ships.
Wuidar is seen in many works displayed at the White cube northern gallery London to add a wooden frame around his paintings. What is it that Wuidar is hiding from us is it the making processes? The sides of a support can give cues to a objects creation and at the same time be used as a surface. In my opinion the face may be enough to tackle after seeing his working method.
I was particularly interested in Wuidars use of journals having seen a selection of pages of his pages it is clear there is some sort of Sol Le’Witt logic going on he uses same colour pallets yet pushes the composition until perfection… well until satisfaction. Then produces this onto a canvas. I have no qualms with this I do it although the garish wooden frames that surround the paintings are another question.
Something I found interesting was Sasnal’s use of title he would proclaim titles were untitled yet then bracket a specific feature?! Is this normal? I am confused as it is titled untitled yet titled in a bracket is it a unconfirmed titling or perhaps just an accompanying text I’m not quite sure… yet something I will toy with the notion of.
I was particularly drawn to this work from the ‘Sleep’ exhibition. The work depicts what I define to be a palm tree of sorts and perhaps other trees, shrubs or bushes. The image pleases me in the same way Allan D’Arcangelo’s work does it leaves only what figures and forms that need to be deciphered by the viewer. The works shilouettes are accompanied by a brown pattern formed by arithmetic movements with a tool to push paint or dye around. The image sits in my mind alongside that of ‘two people on a sharp corner’. The work by Sasnal looks as though the viewer is laying on the floor due to the angle and scale of the ‘palm tree’ figure. This is similarly suggestive to that of my painting.
The work that was on show in the gagosian at London’s St Pancreas nearly a year ago was his well known tiled arches although also contained was his collection of steel cubes and blocks. The work was well presented if not a bit confined to the smaller Gagosain spaces.
The collective showing of Serra’s Paintstick on handmade Japanese paper works. The showing was very indicative to Serra’s (in my opinion) stellar steel works. The scale, skill and awe were all there… the awe present in his metal works is far more apparent. Details become important in these works. The significance of the materials and the detailing on the paper folds, bends and effects became my interest. In some works the paintstick runs to the edge of one sheet of paper while on another it ran to about three inches from the edge to which the edge is folded over at an angle the intersection of these points forms what seems paper triangles. These triangles seem like visuals of walking through some of Serra’s metal arch series works with a curved line of sight at the end of the tunnel. The oil is drawn out onto the paper and also as it was raining the paper seemed to warp and wrinkle.