Installation – Episodes 2 to 5

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5

The first day spent hanging at the gallery created a residual anxiety.  I enlisted the help of a friend for day two, which proved invaluable.

Much progress was made with spacing all of the concrete tables but also rehanging them on new wires and new hangers which created a  far more satisfactory practical and visual solution.  A laser level was applied throughout the day and this created an opportunity to perfect levels on the tablets, prints and projection mapping.

Three timelapse videos were made, the first – Episode Two – shows the rehanging of the tablets, thus;

The second – episode Three – the hanging of the cloth on the grey walls (from the hanging rail) for projection in the anti-space, projector testing and tuning using MiniMad Raspberry Pi controllers, then the rehanging (using Velcro applied to the rail and skirting board to create a tension and reduce the creases) and the final set up.

The third – Episode Four – illustrates the final hang and leveling of the concrete tablets and prints along with the installation of the spotlights.

 

Learning Points

Working in three media creates three sets of challenges with the install, each has to be tested, thought through and in many cases revised and solved.  This takes time and thus allowances have to be made.  Whilst complex the final solution actually looked relatively slick and simple, proving, for example, my belief that simplicity is manifest out of much refining and often complexity.

I had allowed ample time in the production and installation but had I been allowed only one day for installation that would have resulted in failure, without a doubt.  I estimate the ‘person hours’ on install to be a total of 22.

 

Final Preparation

photo-2018-06-15-09-55-32.jpgFigure 1

The clean-up, fig 1, was done on the launch day (14th June 2018) using micro-fibre gloves.

Before people arrived I shot a short film on the iPhone, see Episode 5 below. It opens with a view from the spiral stair down into the lower gallery space where I was pleased to be able to mount a concrete tablet onto the wall, reversed to show its texture (which proved a subsequent talking point to viewers)

 

Image Credits

All short films created via a Go-Pro type tripod mounted camera shooting every 20 seconds.

Fig 1, Helena Singleton

 

 

 

 

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A Gallery Evening

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5

Figures 1, 2

I took the opportunity to visit Argentea Gallery on 26th April, for an open evening for the artist Lúa Ribeira and her show ‘Noises in the Blood’ (31.3-12.5.2018), fig 1 and 2.

I talked to Lúa who had recently graduated from Newport University about the printing and framing process in response to the gallery space.  I was also able to walk the gallery once more and record some observations, especially at the lower level, as noted here;

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Figure 3

The smaller space in the lower gallery was being used for projection and the plan-chest as a platform for the projector which reflected my planned use of the facility, fig 3.

The projected image was successful, fig 4

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Figure 4

 

Figures 5, 6, 7, 8, 9, 10, 11

I was able to check the hanging rail locations along with suspension, direct adhering and single hanging throughout the space, figs 5-11

I will use this information to feed into my installation plan drawings.

 

Image display : A Review

As part of the Informing Contexts Module at Falmouth University we have considered the status of the image and how it is consumed.

This is a review of display methodologies from Format, the Derby (UK) based, biannual photo festival 2017, visited on 8th April 2017

This year’s Format theme was Habitat.  I was able to to visit seven venues.  The festival ran from from 24 March to 23 April.  The scale, light conditions, fabric, lighting and environment varied hugely across the whole city. Image viewing aside, it was a very positive opportunity to visit so many venues in one visit including buildings that are not normally open to the public.  All areas were free to visit with the exception of the Cathedral tower which was a timed booking for  a small fee of £1.

As part of my practice I am considering constantly the scale and medium in which to display my work and the successes and pitfalls of display extremely useful way of gaining a deeper appreciation of the curator/director’s role and challenge.

I carried around with me a small camera on the day, this is a series of images chosen because they illustrate the numerous aspects of image exhibition.  Images are all my own with the exception of figure 6 which is from my colleague Chris Northey.

Projection

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figures 1, 2, 3

Figure 1 was at Quad,  this end of the gallery was blacked out which provided the right environment for both the floor standing and suspended screens, to create maximum impact.  The suspended projectors threw an image slightly wider than each screen to create a completely lit panel, the overspill light was lost into black fabric behind.  The two screens worked in syncronicity with a blend of video and stills.

Figure 2, also at Quad, was a conventional wall projection, it was possible to pass in front of the image as it was a closer ‘walk’ than figure 1.  Both figures 1 and 2 were strong and successful.

Figure 3 was in an old, disused school venue known as Pearson. The projector was at ankle level and the angled screens were approx 1m high and floor standing.  A half sphere was placed in front, to emulate a human eye.  A more intimate project. Engaging and successful.

Outdoor

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Screen Shot 2017-04-22 at 20.16.28

figures 4,5,6

An engaging installation into Cathedral Green featuring work in 5-sided back-lit boxes (of differing heights) as well as a series of horizontal panels set into the walkable grid, some 150mm above the normal grade.  The work viewed at night is especially dynamic and the quality of the transparency prints was very high and consistent.  As far as on could tell this piece was being viewed by festival goers as well as passers by. It was commissioned by Format and First Art and captured images locally as well as from international artists.  This was particularly of interest as I am hoping to work on a project as a permanent installation in Birmingham.

Reflections

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figures 7,8,9

Simply to show the difficulty of working with glazed frames and overhead lights not installed for display, in these instances from stairwell lighting and windows opposite (figure 8).

Using the Space

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figures 10,11,12,13

These images demonstrate the diversity of spaces and responses in Pearson building. Figure 10 illustrates a tower of interlocking, card mounted images.  Figure 11 board mounted prints mounted off the wall to create a shadow gap away from the wall surface; a counterpoint of highly refined images and the cracked and neglected wall surfaces. Figure 12 neatly shows a through colour acrylic sheet with image printed onto the outer surface and then suspended in front of another image on an mdf shelf.  Figure 13 provides a whole room view of two wide screens made from OSB board painted on some surfaces and left raw on others (one assumes a curatorial device to set off each type of image group).  The tall space and the related windows were masked to prevent too much light spillage into the space.  The lower portion of windows was utilised for naturally back-lit images.

Hanging Sheets

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figures 14,15

Figure 14 was taken in Pearson Building and showed a composite image printed onto translucent sheet, with excess unprinted areas above and below ingeniously used to frame the image and mask the frame beyond and also provide a high level suspension. Figure 15 was from Pickford’s House (part of the Derby municipal museum group) and simply used the main trusses passing through the space as a rail to suspend large fabric drapes with images printed upon them as an intervention across the centre of the main upstairs space.

Striking Backgrounds

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figures 16,17,18

Figures 16 and 17 were found in Quad. 16 uses a repetitive image pasted across the screen wall to act as a vibrant backdrop to a line of high colour production prints (red framed!).  17 shows a paper print pinned to a panel of timber; a slightly distracting backdrop as it did not bear a reflection of the image (as 16 clearly does) and I made the assumption that it was used to create a suitable surface for pinning a number of prints.

Figure 18 is a simple freestanding screen which acts as the pinning surface for a series of 8 images which were actually printed on a single roll of paper.

Links

Main website http://www.formatfestival.com/

BJP Review http://www.bjp-online.com/2017/03/format-festival-the-low-down/

ends