Now we are in the new year I have begun to understand my work more clearly and decisively. The recent exhibition allowed me to focus to create work of exhibition standard that I was proud of, now the hard work starts.. 7 months left until I finish my MA!
Solvitur Ambulando, 9th December 2017 – 11th February 2018, Otter Gallery, University of Chichester
“In Solvitur Ambulando the exhibiting Fine Art MA students use practical, material experimentation as a means to examine, and re-examine, reflections upon and/or propositions about the world around them. Each student is on a journey, addressing the shape of their existing understanding and mapping new territories as they expand their horizons and explore new ideas.” 2017 Catalogue statement
The preparation for this exhibition allowed me to have a focus point through my study, and I specifically aimed to get ‘gallery ready’ pieces of work.
By focusing on Gravity, Weight, Force and Materiality these outcomes have gathered together all of my practical experiments from the past 6 months.
Moving forward I would like to focus more on the kinetic possibilities within my work, for example, when installing the exhibition I felt I was still in the practical experimentation stage of the work. Stability of the vulnerable developed as the days moved forward towards the exhibition. I initially begun working with handmade weights suspended on the chair, as a movement tool. These weights had all be created exploring force and weight through different materials and plaster. I progressed the use of these weights by suspending them off the chair just using the tension within the string and how many times I wrapped it around the chair. No knots. No pins. It was solely based on friction and force. The placement of these weights was carefully thought out and they where suspended just centimetres off the ground with the importance of liminal space becoming a key contributor to the finished pieces.
Video Showing my exploration of weight and movement
I have a large selection of these videos exploring different types of movement and how the movement is adapted when the chair is suspending from different points.
To further my exploration, I begun to install the work in the otter gallery, and focused more on how the overall installation would look. In such a short space of time I couldn’t develop a way of keeping the chair moving thought the exhibition, however, when installing the work, the chair wouldn’t stay still and loose yarn begun to tangle around the base of the work.
Video Showing the new discovery through the installation process
Although this was beautiful as it moved, I focused on getting the perfect composition for the piece in the gallery. I used 2 larger weights in the back corners of the given space, with interwoven chain, lace and warp thread to define the space and give the work a finishing zone, without this just being the 3 walls surrounding it. The section of warp thread (it is important it is called by its correct name due to the textiles element within the work, and the purpose of warp thread as an armature for weaving) was carefully placed within the shadow created from the chair as a direct production of the lights placed above the work, developing containment and entrapment.
To summarise, I am going to move forward focusing on the main things I have learnt from this exhibition. Physical qualities. Spacial Tension. Conceptual interference. The Uncanny. Kinetic elements. My own mind and its restrictions. Anthropomorphic qualities and the body in relation to scale.
I also am going to look into…
- The Uncanny, Sigmund Freud, 1919
- Being Alive: Essays on Movement, Knowledge and Description, Tim Ingold, 2011
- Force Fields: Phases of The Kinetic, 2000
Whilst also continuing with…
- The Poetics of Space, Gaston Bachelard, 1958
- Materiality, Petra Lange-Berndt, 2015
- Rachel Whiteread as an influential artist