Finishing Touches and Projector Placement

Hazel and I came in to the studio play with the placement of the projector and to install Hazel’s work. Hazel’s embellishment of her photographs were framed and hung on the wall which I felt balanced some of the sporadic elements in our installation. They worked well in bridging the gap between Ellie’s patterns and my objects and poetry . The use of thread in these snapshots of people and places tied into our over-arching theme of inter-connectivity and the often unlikely relationships formed between people and places.

Hazel and I then considered the placement of my PowerPoint projection and how a relationship could be formed with the space without disrupting the internal relationships that the rest of the work held with each other. We settled on placing the projector on a plinth – amongst a few objects so that the projector became embedded within our installation – facing the right wall. When playing the PowerPoint, we noticed that a few of my poetry phrases settled on the right hand shelf (sometimes neatly, other times in a distorted manner playing with Ellie’s notion of “Designed Chaos”). We felt this was subtle yet poignant in the relation to the rest of the curation. We enjoyed that in our curatorial collaboration a large amount of our work was understated and held a quiet but strong presence in the space. Whilst the projector, once on, held a command of the focus in the installation, it does not overpower the subtle intricacies of our other works.

What we felt worked particularly well was that the word “dust” had literally collected on one of our shelves.

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Hazel’s Pieces

Hazel developed some thread pieces partially inspired by Mark Garry but mostly influenced by Mana Morimoto. She was thinking of alternative ways of incorporating thread into our installation. The imagery Morimoto used and Hazel’s chosen photograph merged with our installation well whilst simultaneously exploring the notions of inter-connectivity between spaces and people.

Here is her initial experimentation and below her final choice of photographs:

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Experimentation

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Experimentation

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Hazel started by poking little holes in the photographs and when illuminated from behind, these tiny trails came to life.

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After deliberation, she used these holes as tracks for thread tying the theme of inter-connectivity further in the installation.

Inspiration for Hazel’s Pieces – Mana Morimoto

Installation

This is how Hazel’s pieces interact with the space. Personally, I feel that the use of a couple of frames balances out the order and disorder of the collaborative curation. The installation aims to walk this liminal line.

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Designed Chaos

Here is a sample of the patterns that Ellie has made for her book. By making a book the pieces definitely possess a presence that Ellie had been looking for. By having extracts of the book on the wall the patterns similarly play with concepts of design and structure which echo the title of the book itself. The book is designed yet samples of her patterns are displayed haphazardly/chaotically around our installation space.

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We all fell in love with the burnt yellow in this print and I feature it again in the text colour of my poetry pieces.

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Her book is available through amazon on this link if anyone would like to purchase it.

Artist Statement

2017-03-14

Exhibition Title: “Wrap yourself around that choking breath of mine”.

Statement about my individual contribution to this collaborative work: “Wrap yourself around that choking breath of mine”

My work within this curated piece focuses on text and objects and the relationship they hold within our exhibition space. The text explores themes of inter-connectivity through language and typography, drawing on elements of objects such as clay, thread and pattern. Through these – often ambiguous – relationships the viewer is invited to explore their own relationship with the space and consider their external inter-connectivity to the things that surround them. The objects and text do not contain specific feelings or intended content, it is the viewer that must form their own connections to the pieces and navigate what relationships might emerge from them.

Ian Hamilton Finlay and Lawrence Weiner are prominent influences. Hamilton’s work considers exterior spaces and language. It also considers the potential for these constructed spaces to invoke philosophical thought. Lawrence Weiner’s presentation of language and the boundaries language can be pushed to in its setting was also considered in the installation. Gesture and typography within his texts were invaluable to the formatting of text within the space as the passages are amplified depending on the form they are presented.

Ultimately, the curation of this exhibition intends to explore space in its many guises, through text and object. How traditional relationships change when these conventions are manipulated and reformed is a major part of my research interest.

Statement about the collaborative process for “Wrap yourself around that choking breath of mine”

After working successfully in a collaborative group last term, we decided to continue working together to critically improve both as a group and in our individual practices. Initially we wanted to explore more personal processes so we worked on our solitary practices within a collective space – reacting to and creating work based upon each others pieces.

As we found that our individual ideas for projects seemed to differ so, we concluded that the best way to continue our collaboration was not to necessarily create art together, but instead to collaboratively curate an installation of our works.

We planned to completely take over and inhabit a corner of the studio, much like how artist Mark Garry’s work occupies gallery space, brazenly demanding attention. Inspired by Garry’s use of threads we decided to incorporate elements of his practice within the installation as threads tie in with both Hazel’s sculptural and photographic pieces and Ellie’s ‘Designed Chaos‘ works. The action of threads stretching and wrapping around our space also relates to Rebecca’s poetry which deals with interconnectivity between space and objects, which we felt would support and effectively combine all three of our practices.

We’ve also all expressed a very keen interest in experimenting with projections in the past, and so works by artist Tony Oursler in which he projects distorted faces onto large objects, further inspired us to develop this approach in our collaborative work. Oursler creates immersive experiences that both ensnare the viewer’s focus, whilst also looking forward to the digitally assisted future of image and identity production.

However, whilst we were all able to improve our practices through experimentation and group criticism, the space as a whole felt incomplete and disjointed. This caused us to re-evaluate how we worked as a group and thus changed our approach to our individual practices which then led to a new way of curating our collaborative exhibition space.

For further details see Hazel and Ellie’s Artist Statements which can be found on their blogs:

https://hazellewisfarley.wordpress.com

https://ellieslaneyart.wordpress.com

Robert Montgomery

Robert Montgomery brings a uniqueness to his practice by including a deliacte, yet powerful,  poetic voice to text art. Included in his work are billboard poems, light pieces, fire poems, woodcuts and watercolors.

“To encounter the work of Robert Montgomery is to make a tender encounter whose tenderness is enhanced by the public, communal quality of his work. To encounter his work is to have your body filled with a sad thunder and your head filled with a sad light. He is a complete artist and works in language, light, paper, space. He engages completely with the urban world with a translucent poetry. His work arrives at us through a kind of lucid social violence. No one has blended language, form and light in such a direct way.”

Dane Weatherman. Black & Blue Journal

Info taken from: http://www.robertmontgomery.org/bio/

Hazel introduced me to Montgomery and whats particularly resonates with me is the conflict between the public and private voice of the artist. The passages are separate from him and yet are incredibly personal. The text themselves seem to be unrelated to their environment and remain ambiguous to their ancestry and context. The poetry awakens a hidden truth within the reader/viewer such as “All palaces are temporary palaces”  and “The people you love become ghosts inside of you and like this you keep them alive”. The texts are penetrative and burrow deep within the subconscious of the recipient. This is something I would like to emulate somewhat in my poetry passages, yet where mine are relating to inter-connectivity, Montgomery’s subjects are far more broad.

Christine Borland

“Borland’s work is at once repulsive and seductive. She builds layers of psychological complexity, juxtaposing incongruous elements which pervade human sensibility”.

She explores concepts of absence and presence, masculine and feminine, life and death, innocence and guilt. Through her investigative practice she reveals the brutal realities of society and  historical ‘evidence’, which describes and validates the concerning disposition of humanity.

“Borland does not merely expose her findings within the gallery but creates deeply poetic works that reinvest the clinical data she uses with a human dimension.”

What I felt was inspirational to our installation is Borland’s use of collection within the installations. I especially enjoy the fractured nature of the shelf piece pictured below that seem coherent yet remain sporadic. In the same regard, the collaboration piece of the bottom images appear archival yet hold some spontaneity that I hope to include within our installation.