A Film

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5

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Figure 1

It was a good agreement that we reached with the gallerist – to allow my erstwhile agent to make a film of me talking about the show for her website.  With a view to renewing the commercial arrangement, Jaanika Okk spent about 90 minutes filming me talking through the whole raison d’etre and details of the show.

Okk has made judicial edits and placed the film on her website, fig 1.  It is circa 11 minutes long.

An introductory still – fig 2

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Figure 2

 

Reference – accessed 8.7.2018

http://okk-arts.com/2018/07/artist-spotlight-june-2018-philip-singleton/

 

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Gallery Discussion – a Diary

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5

 

Screen Shot 2018-05-26 at 11.09.02Figure 1

On 24th May I had my final pre-show meeting with the gallery.  It was not the most relaxed meeting I have ever had (a sort of sober reminder that one is ‘just’ a student…), but it enabled me to guide my work over the next two weeks.

The following is a brief synopsis of issues covered.

Screen Shot 2018-05-26 at 11.09.15Screen Shot 2018-05-26 at 11.09.26Figures 2, 3

Plan – SketchUp and numerically referenced hanging schedule

I shared the latest version to discuss the hanging locations and media figs 1-3.  The gallerist was concerned about hanging the clusters of tablets (fig 4) as each would require a pair of the hanging wires (the conclusion from previous meetings); she felt that this was too much and may be visually cluttered.  I am to experiment with Velcro type tasters on trial tablets back at home.  I took 4 sample tablets along to show progress with the images and fixings.  I photographed one sample against the white wall of the upper gallery and the dark grey of the lower gallery – see figs 5 and 6 – note the distinct colour rendering of the concrete face in the two contrasting contexts.  The dark grey walls are the lower gallery colour that this work will be hung within.

 

Figure 4
Figures 5, 6

Timing to install – dates/times

As the lower gallery space is currently not showing work I can access the space, to commence hanging from 9th June.

Projection

I explained that I had ordered a Minimad projector controller that would make the ‘fire-up’ simple each day the gallery opens.  I need to test this out once the kit has arrived.

IMG_3506 2Figure 7

The principal image 

I advised the gallerist that I was still keen to show three of the A2 images, framed with museum glass, however, I had ordered a circa A1 size ‘hero’ image for hanging as the focal point upon entry to the space fig 7.

img_3369.jpgFigure 8

Staircase detail

I had noted that the stair-head was vacant and had a hanging rail over when I attended the launch of the Gökhan Tanriöver launch fig 8.  I suggested one concrete piece as an indicator of the installation downstairs, but the gallery refused this option, there will thus be no visible presence on the street or main gallery level.

Launch night details

We agreed on the timing as 18.00-20.00 on the 14th June.

Ruth Millington as writer

I suggested that the writing I had requested could be used in the gallery’s information sheet and as it was a neutral piece, observing the work it was best separated from my work in terms of who pays.  However, the gallery turned that down (despite precedents).  I shall thus be paying the writer, so there is a question of ethics on this issue.  I will need and be happy to say that Ruth was paid by me.

Comments; book or cards?

I am keen to engage with the audience and solicit feedback.  We agreed that a small table could be used for comments cards (in preference to a book that makes visible all comments) – I will need to print comments cards for the show.

Wall mounted information

These will need to be adhered to the wall directly via Velcro or similar.  Will be printed at A3 or A2.

Any special evenings/sessions?

I am working on ideas for this.

Jaanika Okk – Okk Arts

It was agreed that my commercial agent could create a video in the gallery during the show.

Pricing the work;

This was a fairly detailed discussion.  As the gallery has not funded the work it has agreed that commission would be less than the normal 40%. The gallery is not VAT registered.

The framed prints would be £450 framed (with museum glass) and £275 as prints (kodak Endura) all limited to 3.  I need to agree on a price on the newly printed and mounted ‘hero’ image as this is backed by 5mm Foamex board.

The concrete was a more debated artifact.  They are handcrafted and thus have a uniqueness but also an ordinariness. We disused the costly mould commission process and sizes, etc.  We agreed that the range should be £80/£90/£100 per piece with a 10% discount for a cluster.  Editions to be limited to 5.

Information sheet

The gallery’s handout sheet – it was agreed that this could be on grey paper to distinguish it from the normal white version, to emulate the concrete.  I need to choose a key image.

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Figures 9, 10, 11

Projection test

I ran another test in the small projection area and there were distinct problems with the dark grey of the walls, shown in fig 9 where there is significant image loss.  Fig 10 shows that the projector had to be tilted substantially to avoid ceiling projection and fig 11 illustrates that the image quads need to be tuned to the wall dimensions/distances.  It was agreed that I should purchase white sheeting to be suspended in the space from the hanging rails to create a purer reflective surface.

Notes

All images by Philip Singelton using iPhone.

Pink Floyd – an Exhibition

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5

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Figure 1

Following on from my interview with Canto, I had some time to spare in Rome before flying back to the UK.  Always on the lookout for contemporary galleries, I was thrilled to see that Museo D’Arte  Contemporamea Roma was hosting a Pink Floyd exhibition.  This I knew would provide me with a stimulation bit also an array of strong display lessons.

Extracting the introduction and context for the show from the gallery’s website  “The acclaimed major retrospective some 50 years since the birth of one of the world’s most pioneering and influential bands in history.  Originally conceived by Storm Thorgerson and developed by Aubrey ‘Po’ Powell of Hipgnosis, working closely with Nick Mason (Exhibition Consultant for Pink Floyd), The Pink Floyd Exhibition: Their Mortal Remains features many previously unseen objects collected over the band’s eclectic history. It is an audio-visual journey through 50 years of one of the world’s most iconic rock groups, and a rare and exclusive glimpse into the world of Pink Floyd”

The entry space was conceived as a multimedia experience, with the use of headphones for all visitors piping music and on occasions the audio, when in proximity to videos.  The textual introductions, images and backlit artwork were washed with a soft blue light projection which waved its way through the linear space, fig 2 and culminated in what appeared to be a three-dimensional screen in a darker zone, fig 3.

Figures 2, 3

Puppetry, often suspend at high level, was made dramatic by the use of high key lighting, figs 1, 4, 5, 6.

 

Figures 4, 5, 6

I am enormously fond of a good drawing and seeing the set designs drawn in perspective onto tracing paper (the convention in architects’ and designers’ studios before the use of CAD) was thrilling.  These were by Fisher Park, figs 7, 8. I note to the use of Polaroid prints showing the rig tests.

I would like to use such drawings in future installations.

Figures 7, 8

Whilst the whole show was effectively the manifestation of a diverse set of archive materials, photographically it was overtly demonstrated with framed archive prints shown conventionally, as well as within mutimedia ‘booths’, projections and large-scale prints adhered to the walls, figs 9-16

Figure 9-16 (clockwise from top left)

In summary

This was quite an ‘exotic’ show that maximised the manipulation of space, via compact areas, opening out to a large hall then returning and culminating into an intimate space.  The archive was rich, well preserved and very clearly laid out into the chronology of the band’s back catalogue.  Lighting too played a huge role in dramatic impact, emulating the large-scale rock concert that the band had a reputation for creating.  Small, more compact lesson are always learned by such visits.  Thus it was relevant and worthwhile to my future thinking.

Notes

All images, on iPhone, Philip Singleton, copyright is with the museum and its designers, photographers, et al.

The Museo D’Arte  Contemporamea Roma website, accessed 10.5.2018

Webiste front page;

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Writing (short) Texts

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5

There is a balance to be crafted between an academic style of writing and what can be regarded as a more accessible format for a broader, public audience.

For my planned zine and exhibition introduction panel, the latter applies, although I remain keen on blending the rigour of academic thinking within an accessible narrative.

I used as my reference point the abstract I wrote in January 2018 as a think-piece to define the final major project.

These are my initial drafts.

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Figure 1

 

The exhibition text is more explicitly aligned with the planned installation content, the spaces and a fixed point in time, fig 1.

In contrast, the zine has an anticipated shelf-life of 6-12 months and thus its content and narrative are written for the future, not the present, fig 2

 

 

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Figure 2

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.

 

Hanging Concrete

Installation Development : Final Major Project

MA in Photography, Falmouth University, Module 5

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Figure 1

One small step on the installation pathway. I decided to use one of the completed concrete tablets, a 210x210mm version,  as a test for hanging, by using an epoxy resin anchor glue (Araldite) to secure two hanging eyes, fig 2, to the rear of the tablet.  I allowed this to bond and harden for 2 days then positioned it on the wall.  Fig 1 shows that this has successfully held for a week.  I am now confident that this is the hanging solution and will be applying the technique across all tablets.

IMG_2763

I visited Argentea Gallery on 26th April for an open evening and was armed with this photo for discussion, the one consideration, with the gallery hanging system, will be the likelihood for each tablet to lean from the top which will dictate both the hanging height for the viewer to maximise visibility but also the number of hanging cables used as a pair will be required per tablet, rather than multiples being used for a group of tablets.

Concrete Tablets

Installation : Final Major Project

MA in Photography, Falmouth University, Module 5

IMG_2464

Figure 1

Precursor to Editing

There is a mental pondering pervading my mind about the next phase of developing the concrete installation; the editing of images.  I am seeing this as a big task. To aid the visualising, I have laid out, for the first time, the tablets as have been hand-made to date, from two batches.

The editing strategy will be to select images that convey a whole message, that are tangible as opposed to the ephemeral and that will work at square and landscape formats.  Notwithstanding this, the portrait format can be utilised on the A4 and A3 sizes.

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Figure 2

Presentation

Laying out the tablets begins to provoke ideas about display methods, from table to vertical framework, to hanging.  There is also the possibility of the tablets, if slotted into a vertical frame, not only showing the textural quality of the ‘backs’, see fig 2, but also alternating the face of the tablets to show both sides, thus mixing the texture with the imagery on each side of the overall framework.

Fig 1 shows the number made to date and their spatial interrelationships, or at least one method of showing their pattern.  It means I can model the sizes on the laptop and the numerous layout permutations, then insert images. The sizes are thus;

210x210mm

297x297mm

210x297mm (A4)

297x420mm (A3)

All are 15mm thick with the exception of the A3, which is 18mm.

Figures 1, 2 and 4 show the slight variance in colour, texture, smoothness and markings to the tablets’ surfaces which contribute to the strategy of creating unique, tangible peices, as referenced in my looking back at Jan Svoboda.

The layout also increases my expectation in terms of precision and consistency of spacing between the edges of all tablets in the group.

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Figure 3

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Figure 4

Figure 5 shows the precision of the edges and corners and the slight blemishes that come from the casting process.

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Figure 5

Figures 6 and 7 show how careful I need to be in handling the tablets as corners can be lost and kneeling on another cracked it into two pieces.  Although from an error perhaps some new thinking on display can be considered.

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Figure 6

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Figure 7

All images my own using an iPhone.