Considering the selection of a piece of work from part Three to experiment with placement in varied locations.
While making work I have not considered where the ideal location is for it to be placed. In MMT after I had made pieces I did find it clear to myself that they should be photographed on the sea shore or on a rocky crag as I felt the added context was important. I’m wondering now about how a piece of work should perhaps have a strong enough narrative to stand alone .
Considering exhibitions, choice of colour, lighting, relative placement to other works is clearly made; for example when Grayson Perry hung the Summer Exhibition there was an excellent documentary interview of the choices of gallery wall colour etc. I watched a video of Tracey Emin talking about the effects of a gallery space on how her work is chosen and indeed made , for commissioned exhibitions.
Stage one – ideas/concept
Selection of a piece of my work is slightly stymied by my focus on exploring materials – it is really difficult to ‘ state what I initially wanted the (original) sample to do or say‘ . I was considering the idea of place in my choice of colour and materials and made some visual reference to drawings of texture and shapes and marks. Was I necessarily saying anything?
Further unorthodox placing
The piece sits really well in the landscape, the curve of the hills and rock forms and iron in the rocks, reflect the form of the weaving.
The industrial revolution starts here and is woven into the story of the place.
Sttage 2 – practical response/action
Stage 3 – critical reflection
Stage 4 – syntheses/refinement
