In the run up to my final degree show I have been making considerations for the display of my work. For me, the audience and their experiences are paramount, and so I am specifically paying attention to how my work will directly address and involve audience members. I plan on having a number of works on display for the show, each displaying a kind of solution to the "problem" that an empty space poses, using language as a tool to mitigate the anxiety associated with unoccupied spaces. A projection will occupy two of the walls in my space, wrapping around the corner of the space so that it mirrors the layout of an open book. The two walls will converse with each other using text and imagery. I will display Error 404 as a back-lit projection on a plinth. The 3D structure will break up the floor space and give something for the audience to move around. I hope that I will also be able to display my zine works, either in their digital formats or as a physical copy that visitors can take away with them. What this will depend on is the space that I'm assigned for the show and the overall aesthetic of the display.
0 Comments
A lot of my work considers opposites, positive/negative, black/white, full/empty, presence/absence. To visually represent this I want to create works in the dyptych format to represent the two opposing terms, and to experiment with the idea of the "gap" or "grey area" that might exist between the two.
One way that I want to try and visualise this is by making a projection piece where two projectors are used side-by-side that have a conversation with one another, and by having the two screens playing off against one another the hope is that it could animate the space. I hope that the piece will also address the binary opposition of full and empty space which is in fact a false dichotomy, and attempts to follow Derrida in the hope of deconstructing the hierarchy that gives priority to an occupied space as opposed to an empty one. These prints are a series of images originally taken from photographs of projections. The light of the projector is captured by the camera and distorted but cannot be seen by the human eye. The white pages of my digital book were projected on the wall and documented, and each white page takes on a different colour as it moves and is photographed. These photographs exemplify how colour can emerge from a seemingly ‘empty’ space. By cropping the images from the view of the double page spread I have focused in on the parts of the image that contain text. The photographs capture the pages as they are turning so there is a shift in the page’s layout and the text gets broken up and can merge with the previous page. The software that I used to create the books has digitised the pages, and when they move the pixels become more visible as the software attempts to make a smooth transition between pages. By photographing them mid-turn I capture this more pixelated image. A 4-colour screen print manipulates the image again by separating it into CMYK layers, and piecing them back together always leave a gap in perfection; the digital image looks even more pixelated. A visual disruption of data can be seen from the shifts between analogue and digital technologies. Gluten Free was a work in progress show put together by 3rd year Fine Art students, continuing from our show G.o F.igure last year. We wanted to put on another show in the run up to our final degree show to test out ideas and to see how far our work has come in the past few months. I had the chance to display a work that I had planned a while ago but hadn’t had the chance to install. “THIS WALL” is one part of two vinyl wall texts. What was as interesting as the work on display was the comments left behind in the comments book: |
AuthorThird Year BA Hons Fine Art student studying at Falmouth University Archives
April 2017
|