Installation : Final Major Project
MA in Photography, Falmouth University, Module 5
I was able to book an online face to face with Wendy McMurdo on 3rd April to reflect and frame my way forward in terms of exhibition production and refinement.
The Gallery Context
I conveyed the latest gallerist response to my draft work; I need to listen to views but also find ways to frame my own inputs and effectively synthesise the conversations and expectations. Print sales are down globally so fretting about those is not to be focused upon – worrying about sales is short-sighted.
I need to regard the show as a ‘calling card’ for my work, for example creating site-specific projection can be propelled as a principle to other cities, places and communities. I should think about how the show can leverage future commissions, i.e. the next project. Thus, I need to list out who should be invited and also do an artist’s talk.
Documenting at the show will be a critical part of how to use it in the future even if key people cannot attend. It is a step to building a reputation. Think of the strategy through this means and beyond. It is a spring-board.
The experience of designing a solution to the installation is a series of experimental moves and needs to be learned from and recorded.
Develop a very clear strategy of using the chosen media;
Projection is impactful, about large-scale urban space and a contact to my professional background. It is thus constrained by the gallery (its demands, expectations and dimensional limitations) so keep thinking beyond that space.
Think about using the archival material.
Fragments on the wall can be a method of display for the concrete tablets.
Do not over complicate the presentation.
Look at the circa 1870 book on the surface of the moon that was modelled in plaster, fig 1. (The moon : considered as a planet, a world, and a satellite by Nasmyth, James Hall 1808-1890 Carpenter, James, 1840-1899) Think of the aerial view of the city and the grid of maps/city planning.
On Editing to date;
Think selectively what should be transferred to concrete. Can the series of circa 57 images (fig 2 shows 6 by way of example) be made into a zine and a small number selected for the concrete printing process? Think about a web-based streaming of these images as well as the projection stream.
The concrete is a permanent embodying of the observation, a residue, a memoriam.
There is an anonymous blandness to the images.
Think about the concrete/zine/print/projection as a series of ‘carriers’ – for the images to be conveyed.
Look at etching one day.
All of this is the beginning of an artistic practice. It is about art and architecture.
The fluency of the work will articulate more deeply and translate into solid and coherent practice.
Image from https://archive.org/details/moonconsideredas00nasmrich accessed 3. 4. 2018