This body of work has grown and altered in ways I couldn’t have predicted at the start, and this is great because it kind of demonstrates one of the things I was interested in – that ideas, actions, responses and ‘things’ can grow and evolve (claifying or distorting) in response to each other in symbiotic relationship that could continue to evolve and loop around itself. One of the consequences of this is as soon as I’m finished things crop up that I could develop further.

tidy up

Ready for final tidy up. Tashka is painting that left hand wall ready for our exhibition logo. Fortunately it’s a good neutral grey so doesn’t interfere with my space…

 

During installation it occured to me that the fabric prints – which I am really happy with (except they’re a little dark…) – could have been developed in a more sculptural way, especially the larger piece. The three smaller ones I think work well in this size/dimension but could maybe have benfitted from being part of a bigger group to emphsise repetition and replication. And the larger print I feel could have gone even larger, with more fabric to work with I could have played with the hanging of it more, introducing changes in angle and folds –  it, and the plinth, were downscaled due to cost, but I would have loved to kept one or both much bigger in scale as a contrast to the smaller prints and also to the small hanging assemblages. Although with space restrictions perhaps it’s just as well I couldn’t go big. This also means I’ve avoided any unnecessary busyness, any visual disorder or jumble happens in a restricted place, confined to a print or a plinth with neutral space in between.

I also attempted to raise the plinth off the floor using a couple of smaller plinths I’ve used for a similar thing in the past where I wanted the work to look less grounded. The smaller plinth makes the work hover. It would have been a way to continue the installation theme of suspending work and leaving it feeling loose and pliable. The mirrored perspex was not thick enough, it started to curve a little along the edges. Again a cost issue, a couple of mm. thicker and it might have been o.k but the cost went up a lot. A good flat sheet of mdf glued to the base of the perspex  would worked as well. It might have just about worked, but I would have lost the straight lines and the side panels wouldn’t have met cleanly so it didn’t seem worth it. I also think the mirrored surface being level with the floor has it’s own merits, perhaps better affecting the space by seeming a part of it.

A little technical hiccup means there is now a single pair of headphones in the projection room, not two pairs.  The double jack connector-thing split the stereo between the two head phones. I wasn’t happy with that at all because I’ve tried to edit the sound so that it moves around and feels like it has some kind of space. This has resulted in a more solitary experience in this room which better suits the small projection, and perhaps a greater contrast to the other dark space so not a bad turn of events. Each room is meant to draw on the senses in a different way – left hand side in a sort of sensory deprivation, tuning in to just the sound, and the right hand space to feel somehow more private and perhaps more controlled and contained….

The video is  4 minutes with a sound piece of 3 minutes. The main sound piece is just over 8 minutes long.

20160525_121638

Not so easy to see here but the perspex is raised and curving…

center

Large print and casts…

three

These three arrived this morning. Glossy satin again….

 

As far as the content of the work is concerned I can see many possible avenues to go down

Working with the written word has been interesting because I know the context of each of the books, but removed from that context and re-presented and then read aloud, by different people/voices, changes the way those words are heard and understood. All of the books are fairly, to very, dark (well, perhaps not The Guest Cat…but Kang and Ogawa’s fiction definitely) but the sentences themselves are pretty innocent. They take on an uncertain, uneasy atmosphere and I think this is partly due to their detachment – this detached and tiny slice of narrative leaves room for speculation and I wonder if everyone would end up at a similar point. This raises questions about interpretation and comprehension, how we each process information and stimulus. While it’s a different context it brings to mind Sophie Calle’s Ghosts

An interesting process would be to try and reverse the work somehow- ask people to explain or describe the assemblages, to create prints from that information, gather more descriptions from the prints and try to arrive at existing objects, then place these into a fragmented narrative etc.

The notion of a responsive and loop-like installation has been brought about by reflecting on a digital world of quick response and fragmentary information. This is why the dialogue between what could seem like separate pieces was so important. I also feel like this is the closest I’ve come to realising a piece of work that addresses something about digitality without exsisting in a purely digital form and aesthetic.

whole space

 

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