Resolution and Innovation
This unit has encouraged me to accumulate and conclude the broad range of skills I’ve acquired throughout my studies. Taking into consideration the way in which my work has developed, executed and displayed. At the start of this unit I submitted an exhibition proposal for my degree show, entailing my intentions for developing practice and evidence of reaching a final conclusion. This was then resulted towards installing an exhibition for assessment purposes and involving the public viewing.
This unit demonstrates professional practice, critically in terms of planning my degree show whilst also enhancing transferrable skills for future employment or further study. Enabling me to embark on a focused period of studio/workshop production. After being allocated a space for the degree show, I have taken part in a series of group curation meetings organising artists and myself in exhibition areas. We discussed, planning and work collectively towards the installation of our degree shows. Communication and connecting the exhibiting artists and the curation team, was important to creating dialogues between all of the works, forming a well-rounded and professional BA show.
The curation team was permitted to undertake advanced planning of the show. The degree show is accommodated in the spaces used as studios prior to this period. The show combines work from across the broad spectrum of fine art production and is intended to be experienced as a group show. In addition to accommodating individual outcomes, there is scope for proposed collaborative or collective approaches to exhibiting. During this time, I have kept a Reflective Journal, enabling me to maintain learning through planning, making, reflection and evaluation.
This unit demonstrates professional practice, critically in terms of planning my degree show whilst also enhancing transferrable skills for future employment or further study. Enabling me to embark on a focused period of studio/workshop production. After being allocated a space for the degree show, I have taken part in a series of group curation meetings organising artists and myself in exhibition areas. We discussed, planning and work collectively towards the installation of our degree shows. Communication and connecting the exhibiting artists and the curation team, was important to creating dialogues between all of the works, forming a well-rounded and professional BA show.
The curation team was permitted to undertake advanced planning of the show. The degree show is accommodated in the spaces used as studios prior to this period. The show combines work from across the broad spectrum of fine art production and is intended to be experienced as a group show. In addition to accommodating individual outcomes, there is scope for proposed collaborative or collective approaches to exhibiting. During this time, I have kept a Reflective Journal, enabling me to maintain learning through planning, making, reflection and evaluation.
My Degree Show Piece ‘Tones of Thought’
Tones of Thought
Tryptic series
Name: Submerged
Size: 2.60m x 1.50m
Name: Mirage
Size: 2.60m x 1.50m
Name: Dawning
Size: 2.60m x 1.50m
Size, Gesso Primer and Acrylic Paint on Stretched Canvas
This tryptic series demonstrates a clear visual language and narrow tonal range to break the taboo surrounding the abstract painting movement. By dominating the space in an emulation of the working mind, these pieces aim to capture and instigate audience engagement.
Tryptic series
Name: Submerged
Size: 2.60m x 1.50m
Name: Mirage
Size: 2.60m x 1.50m
Name: Dawning
Size: 2.60m x 1.50m
Size, Gesso Primer and Acrylic Paint on Stretched Canvas
This tryptic series demonstrates a clear visual language and narrow tonal range to break the taboo surrounding the abstract painting movement. By dominating the space in an emulation of the working mind, these pieces aim to capture and instigate audience engagement.
Degree Show Piece 'Tones of Thought' Reflections
My degree show piece acts as an extension of my practice, showcasing my studio and developing work within one outcome. Addressing and constructed around the theme of the subconscious, experimenting with process and materiality, acting on thinking through making. Using abstract imagery to provoke attention and engage audiences as they walk into the gallery space. All of these works have been made on a large scale with the intention on enriching the room in which they have been placed.
I believe I have reflected an area of my practice significant to me. Allowing shape and form to consume each piece sharing common characteristics to one and other but, not becoming the same making each piece stand for itself. By means of; colour, tone and scale each piece has reproduced chaos and flux dominating a within a white walled room. I feel was affective as these components all push a theme of the unknown and chaos, but create a restrained, diluted and bounded visual. Negative space around each painting, permitted breathing space and room for other works to intervene, using my exhibition wall to its full potential.
My plans for my degree show pieces have proved to be too ambitious given the time I’d set myself to create them. Organising to create pieces with two different components, displaying a physical painting and an augmented reality visual. This substantiated to be time demanding, learning new 3D modelling software’s to recreate my paintings was difficult due to rendering time and lack of experience using the software’s. I intended to show a connection between physical and digital materiality within the context of a gallery space, utilising and inhabiting areas that aren’t occupied by my painting works. Resulting in a fully immersive and playful environment at intervenes with others works.
Each painting withholds some of the characteristics from drawings I have made previously, showing a connection between different aspects of my practice. I aimed to use this to push my paintings and begin to think about how I could adapt my style towards more graphic imagery but, still withholding a painterly mark making gestures.
The development of the works was a lengthy process, this took me longer than anticipated. I found starting these works harder than usual as they were becoming more of a defining piece of my practice. This meant I spent longer periods of time trying to calculate a composition instead of thinking through making. This hindered me to begin painting, becoming over whelmed at the size of the painting rather than just formulating them as I would normally. However, I believe this has helped me understand how to evolve my making practice and acknowledge when I am becoming too attached and consumed with the work. This has pushed me to take a step back, in order to reflect upon them and assess areas of strength.
The installation process was a success, following my pre made photoshop mock up plan enabled me and the 3D workshop technicians; Steve and James to strategically mount the work without problem on the first day of install. Calculating the width of the wall and paintings was beneficial, when trying to create evenly spaced gaps in-between the works. After calculating spacing, we used an industry standard laser beam to level the paintings, creating an accurate base line to work from. I hung each piece using the four small mirror plate in each corner to support all of the weight effectively.
I plan to further develop the outcome of these pieces ready for Free Range this summer. I endeavour to appropriate some of my previous plans from my degree show proposal and attempt them after submission. Dedicating my time towards simplifying my ideas and making them a reality.
I believe I have reflected an area of my practice significant to me. Allowing shape and form to consume each piece sharing common characteristics to one and other but, not becoming the same making each piece stand for itself. By means of; colour, tone and scale each piece has reproduced chaos and flux dominating a within a white walled room. I feel was affective as these components all push a theme of the unknown and chaos, but create a restrained, diluted and bounded visual. Negative space around each painting, permitted breathing space and room for other works to intervene, using my exhibition wall to its full potential.
My plans for my degree show pieces have proved to be too ambitious given the time I’d set myself to create them. Organising to create pieces with two different components, displaying a physical painting and an augmented reality visual. This substantiated to be time demanding, learning new 3D modelling software’s to recreate my paintings was difficult due to rendering time and lack of experience using the software’s. I intended to show a connection between physical and digital materiality within the context of a gallery space, utilising and inhabiting areas that aren’t occupied by my painting works. Resulting in a fully immersive and playful environment at intervenes with others works.
Each painting withholds some of the characteristics from drawings I have made previously, showing a connection between different aspects of my practice. I aimed to use this to push my paintings and begin to think about how I could adapt my style towards more graphic imagery but, still withholding a painterly mark making gestures.
The development of the works was a lengthy process, this took me longer than anticipated. I found starting these works harder than usual as they were becoming more of a defining piece of my practice. This meant I spent longer periods of time trying to calculate a composition instead of thinking through making. This hindered me to begin painting, becoming over whelmed at the size of the painting rather than just formulating them as I would normally. However, I believe this has helped me understand how to evolve my making practice and acknowledge when I am becoming too attached and consumed with the work. This has pushed me to take a step back, in order to reflect upon them and assess areas of strength.
The installation process was a success, following my pre made photoshop mock up plan enabled me and the 3D workshop technicians; Steve and James to strategically mount the work without problem on the first day of install. Calculating the width of the wall and paintings was beneficial, when trying to create evenly spaced gaps in-between the works. After calculating spacing, we used an industry standard laser beam to level the paintings, creating an accurate base line to work from. I hung each piece using the four small mirror plate in each corner to support all of the weight effectively.
I plan to further develop the outcome of these pieces ready for Free Range this summer. I endeavour to appropriate some of my previous plans from my degree show proposal and attempt them after submission. Dedicating my time towards simplifying my ideas and making them a reality.
Career Pack
Throughout this unit I have been heavily focused on professional practice, supplementing my studio work with appropriate professional material including; business cards, website updates and postcards to sell in preparation with the degree show opening. I have tried to group these all under the same recognisable visual as my work, in keeping with the rules and restrictions associated with each piece I have created.
In addition, I have been applying for residencies and creative opportunities that would further my education within the arts. These have given me insight into the industry, understanding what is expected and to what degree. This has been beneficial when planning for interviews and submitting portfolios, both online and in person. I have been able to experience; presenting my practice for the Jennifer Davey Award, interviewing at the Royal Drawing School, submitting lengthy project proposals discussing themes and interests directly related to my practice.
Furthermore, I have presented this in the form of documentation both online and within my career pack. To photography my work professionally was also a key part of my submission, taking more care when photographing new and past works. Having access to the daylight photography studio, has allowed me to improve my technical skills associated with lighting and composition.
(This can be found in my Career Pack and parts of my Reflective Journal)
In addition, I have been applying for residencies and creative opportunities that would further my education within the arts. These have given me insight into the industry, understanding what is expected and to what degree. This has been beneficial when planning for interviews and submitting portfolios, both online and in person. I have been able to experience; presenting my practice for the Jennifer Davey Award, interviewing at the Royal Drawing School, submitting lengthy project proposals discussing themes and interests directly related to my practice.
Furthermore, I have presented this in the form of documentation both online and within my career pack. To photography my work professionally was also a key part of my submission, taking more care when photographing new and past works. Having access to the daylight photography studio, has allowed me to improve my technical skills associated with lighting and composition.
(This can be found in my Career Pack and parts of my Reflective Journal)
Documentation
For my documentation I have presented my work on a number of platforms. These include; My website, Instagram, reflective journal and blog. I have considered appropriate ways of presenting my practice as an artist, one of these was a digital and printed portfolio book indicating a sense of my style and practice at this time. In this will be a combination of drawings and paintings intended for interview purposes, applying for further professional opportunities to supplement my work. Like most of my practice I wanted this to work with a restricted amount of material, reflecting areas of experimentation my style best suits. I will be making an embossed cover for all of my zines and portfolio books to add to it material value and boost the texture and weight.
I may wish to display this alongside my degree show work ready for the private view and general public as a supplementary information for the viewer. This will include information for sale of my current works.
My website shows all of my back up and studio practice from the beginning of this year. This includes; my studio, the workshops, exhibitions and curational projects. My website and blog will be the most essential documentation for this unit. Containing all of my work and projects alongside my reflective journal entries clearly capturing my progression through the unit. I have used a number of different methods to present, showing images taken within a photography studio and photos from my phone camera. I have found this particularly interesting to watch the progression of my degree show pieces. Seeing how they have changed over time, comparing them to one and other over time.
Documentation has been successful; however, I feel I could have improved in this area. I feel my practice lends itself to the form of a publication, presenting my work within a material and physical way, withholding some of the attractive physicality of owning and holding a book. Disappointed with the outcome of this I would improve this for the future. I intend to finish my portfolio/ Zine book in time for the private view. Allowing myself enough time to polish pages and print professionally.
I may wish to display this alongside my degree show work ready for the private view and general public as a supplementary information for the viewer. This will include information for sale of my current works.
My website shows all of my back up and studio practice from the beginning of this year. This includes; my studio, the workshops, exhibitions and curational projects. My website and blog will be the most essential documentation for this unit. Containing all of my work and projects alongside my reflective journal entries clearly capturing my progression through the unit. I have used a number of different methods to present, showing images taken within a photography studio and photos from my phone camera. I have found this particularly interesting to watch the progression of my degree show pieces. Seeing how they have changed over time, comparing them to one and other over time.
Documentation has been successful; however, I feel I could have improved in this area. I feel my practice lends itself to the form of a publication, presenting my work within a material and physical way, withholding some of the attractive physicality of owning and holding a book. Disappointed with the outcome of this I would improve this for the future. I intend to finish my portfolio/ Zine book in time for the private view. Allowing myself enough time to polish pages and print professionally.
Critical Evaluation Simplified
This unit has allowed me to resolve and innovate. Reflecting upon my strengths, weaknesses and areas for improvement. Overall, I feel this has been successful towards reaching and realising future career goals with a better understanding of the industry. I have cultivated my practice and enriched my content to a higher and professionalised standard. The curation team has allowed me to articulate both professional and studio practise, pushing the boundaries of what I can achieve as an artist and curator. Questioning; how these roles have merged into my developing practice, becoming one in the same.
The studio and workshops spaces have aided me to learn new techniques and methods to creating works, like the printmaking technique emboss shown in my business cards. In addition, I have consolidated skills from previous units and applied them to refine my research resources and tailor my degree show proposal accordingly. This is shown most effectively in the build-up to my degree show piece, improving my technical skill set and showing my attentiveness and progression in mark making.
My tutorials have been invaluable to reaching final conclusions and expanding my understanding of art culture, connecting both my interests, studio practice and contextual research to form one recognisable style with potential to adapt further. I have learnt how to conduct myself in a professional manner, both in speaking and articulating my practice to others. Using visual and contextual research to aid my outcomes, presenting myself in front of large audiences, curating and exhibiting in group exhibitions. I feel I have progressed in this area, showing a contributory knowledge of appropriate language has been a strength.
I feel my artistic and creative style has progressed into a personalised aesthetic. Allowing me to take ownership of what I have created, whilst skill leaving room for the work to evolve and develop. Permitting my pieces to reflect uniformity and coherency, still demonstrating chaos. Capturing a space where the viewer isn’t too overwhelmed by the imagery, while conveying depth of information that catches the eye, but subtlety co-habits the same form. I intended for my pieces evoke a confusion and annoyance with their lack of colour, as if they were photocopies of an image and not the original, this has been shown through manipulating materials and stripping them back to draw the focus towards the mark making.
At times I have been slightly too ambitious and could have focused more time on completing and printing my portfolio book. I will ensure this is done to support my degree show work once the show is open to the public.
I intend to extend my practise, incorporating 3D model making and augmented reality software. Breaching the fragile territory between physical and digital materiality. Exploring new ways of showing depth and illusion of space within my works. I intend for this to become more apparent and submerged in my pieces as I approach the Free Range this summer. Adding a digital component to my existing degree show pieces, will enhance and push my subject matter of working and animate collaboration of styles.
After graduation I intend to focus on furthering my creative education, of expanding my own portfolio implementing all I have learnt. To drive forward as an artist and pursue a combined career within a curation team in a Gallery environment.
The studio and workshops spaces have aided me to learn new techniques and methods to creating works, like the printmaking technique emboss shown in my business cards. In addition, I have consolidated skills from previous units and applied them to refine my research resources and tailor my degree show proposal accordingly. This is shown most effectively in the build-up to my degree show piece, improving my technical skill set and showing my attentiveness and progression in mark making.
My tutorials have been invaluable to reaching final conclusions and expanding my understanding of art culture, connecting both my interests, studio practice and contextual research to form one recognisable style with potential to adapt further. I have learnt how to conduct myself in a professional manner, both in speaking and articulating my practice to others. Using visual and contextual research to aid my outcomes, presenting myself in front of large audiences, curating and exhibiting in group exhibitions. I feel I have progressed in this area, showing a contributory knowledge of appropriate language has been a strength.
I feel my artistic and creative style has progressed into a personalised aesthetic. Allowing me to take ownership of what I have created, whilst skill leaving room for the work to evolve and develop. Permitting my pieces to reflect uniformity and coherency, still demonstrating chaos. Capturing a space where the viewer isn’t too overwhelmed by the imagery, while conveying depth of information that catches the eye, but subtlety co-habits the same form. I intended for my pieces evoke a confusion and annoyance with their lack of colour, as if they were photocopies of an image and not the original, this has been shown through manipulating materials and stripping them back to draw the focus towards the mark making.
At times I have been slightly too ambitious and could have focused more time on completing and printing my portfolio book. I will ensure this is done to support my degree show work once the show is open to the public.
I intend to extend my practise, incorporating 3D model making and augmented reality software. Breaching the fragile territory between physical and digital materiality. Exploring new ways of showing depth and illusion of space within my works. I intend for this to become more apparent and submerged in my pieces as I approach the Free Range this summer. Adding a digital component to my existing degree show pieces, will enhance and push my subject matter of working and animate collaboration of styles.
After graduation I intend to focus on furthering my creative education, of expanding my own portfolio implementing all I have learnt. To drive forward as an artist and pursue a combined career within a curation team in a Gallery environment.
The Jennifer Davey Memorial Award
As one of the students selected for the Jennifer Davey Memorial award, I was asked to present my practice and plans for the future. In this presentation I highlighted my interest in the creative industries. Expressing my fascination of all areas of Fine Art practice including; curation, painting, drawing and digital software’s.
During this time, I was given the opportunity to show Brain Davey my latest works surrounding the degree show and the conclusions I’ve reach during my time at NUA. We spoke about areas of my practice where I have experimented with sculpture and 3D materials, involving them within my painting practice. Similarly, to an individual tutorial or critique I was given the opportunity to discuss areas for improvement in an educational, but informal environment. Concluding, my work would be well supplemented with the intended virtual/ augmented reality software adding life and dimension to intentional flat images. I began to talk about how relevant space is in relation to the pieces I am creating and the environment in which they are presented.
This experience was enlightening and allow me to engage with my practice from a different stand point. Brain was particularly interested in my mixed media works, expressing a keen interest to how I would have adapted these into my excising works. He was intrigued to discover how I have used three dimensional materials to form paintings, combining two alternate methods of making. I found this refreshing, as I haven’t reflected upon old works for a long time. Considering how this could be re-worked within my practice, encompassing textural materials to flat and painterly surfaces to form depth and dimension. Cutting into and image and breaking it, in order to form a noticeable distension between the two.
Reflecting on this, I will begin to experiment with plaster and clay, incorporating these into my painting works to enhance some of the brush strokes. I aim to use these materials in the same form as paint, pulling around the canvases to form objectified abstracted visuals.
During this time, I was given the opportunity to show Brain Davey my latest works surrounding the degree show and the conclusions I’ve reach during my time at NUA. We spoke about areas of my practice where I have experimented with sculpture and 3D materials, involving them within my painting practice. Similarly, to an individual tutorial or critique I was given the opportunity to discuss areas for improvement in an educational, but informal environment. Concluding, my work would be well supplemented with the intended virtual/ augmented reality software adding life and dimension to intentional flat images. I began to talk about how relevant space is in relation to the pieces I am creating and the environment in which they are presented.
This experience was enlightening and allow me to engage with my practice from a different stand point. Brain was particularly interested in my mixed media works, expressing a keen interest to how I would have adapted these into my excising works. He was intrigued to discover how I have used three dimensional materials to form paintings, combining two alternate methods of making. I found this refreshing, as I haven’t reflected upon old works for a long time. Considering how this could be re-worked within my practice, encompassing textural materials to flat and painterly surfaces to form depth and dimension. Cutting into and image and breaking it, in order to form a noticeable distension between the two.
Reflecting on this, I will begin to experiment with plaster and clay, incorporating these into my painting works to enhance some of the brush strokes. I aim to use these materials in the same form as paint, pulling around the canvases to form objectified abstracted visuals.
Wall to Wall -Live Project-
This project enabled me to begin considering my studio practice again after having a time away from making. This three-week venture challenged artists using this project space to work alongside one and other to form a ‘studio’ spaced environment.
As a whole this project was an excellent opportunity to test new ideas and skills for further projects. Using this space as a communal studio, instigated conversation and sparked inspiration for my developing practice. This project allowed me to explore two contrasting painting techniques I have previously used within my practice. Manipulating these into one outcome pushed me to think about length of the project and what was possible to create within this time. Contemplating over, productivity in regard to forming a composition and achieving the most efficient outcome.
This project helped me transition from the research stage of the year into making, acting as a stepping stone towards formulating ideas for my degree show proposal. Allowing me to test ideas and methods of making in an experimental way.
I feel this was substantial in the development of my work this unit, capturing some of my strongest and most free flowing paintings.
1. What were the strengths of the project as a whole?
- Brought together artists working within the same field, but completely practice completely different methods
- Demonstration varied outcomes
- An opportunity to test experimental techniques and create a body of developing work
- Working on a large scale pushed myself and other artists to work outside of their comfort zones
- Creating community within the studio
This project achieved, bringing together artists from a spectrum of backgrounds in to one working studio space. Allowing for free-flowing idea formation and constant group critique. I believe the space in which the project was hulled was vital towards its success. As access to all of the fine art studios and linking project spaces, the corridor of PS4 encouraged audience interaction and objectivity of the space surrounding. The narrow corridor pushed artists to think about process of making and adapting their painting styles to avoid tripping hazards and blocking entries. In addition, the project succeeded filling all of the walls, enhancing its architecture and catching people’s attention. I feel this brought new life to a space that wasn’t used to its full potential. I also felt this created an interesting and necessary dialogue between ‘Curve’ a staff and student show. This opened an unintentional collaboration between students on the wall to wall project and staff exhibiting in ‘Curve’. Allowing the contrasting projects to connect through the use of the corridor, reflecting the wall to wall artists to form an intervention of space.
2. What were the weaknesses of the project as a whole?
- Artists weren’t all working at the same time
- Artists also had prior commitments alongside the project, meaning we couldn’t give the project our full attention
- The group critique with James Quinn was organised during the time of other important sessions for the BA3A unit.
During the three weeks the project was running, artists began to slowly deteriorate, and less people started attending the working space. At times the project lost enthusiasm as, other projects started to take priority. I feel this could have been solved, by adding the project to students’ timetables. Sometimes this would over run with some of the submission timetabled sessions, meaning I couldn’t give my full attention towards the end of the project.
3. Anything that surprised you, that you didn't expect during the entire project?
- I didn’t expect to be as influenced by the other artists around me
I was surprised that others work influenced the way I started forming imagery. I started to gain inspiration from Molly Taylor’s performance and interactive costumes, trying to emulate some of her movements within my mark making. I was also struck by Emilia Symis’s cut or slash projected in her work creating a new layer and dimension to the visual of her works, push me to experiment with adding a layer of paint contrasting with the backgrounds of my work. As a group we all started to respond to each other, engaging with critical conversations on a daily basis. This helped me understand how audiences perceive my work and read my processes.
4. What were your main challenges you faced during the project?
- time limitations
- working outside my comfort zone
- the pierces not progressing the way I had imagined them
- material costs and space.
- working in a corridor meant I had to adapt the way I paint and the orientation of each piece of work, to avoid obstructing the walk ways.
I struggled during this project to find purpose and accumulate a composition I was happy with, due to the time limitations. I was multi-tasking between working as a student ambassador, curating ‘curve’ and painting these pieces. I tackled with materials thought out the process particularly when mixing paint to the right consistency and colour. I found the experience frustrating when things didn’t go to plan, but excited when I saw the final outcome.
I feel this was a challenging but rewarding experiment as I achieve one of my strongest pieces of work. Enabling me to prepare for future paintings and degree show development, knowing what to expect when making important pieces of work. My understanding of the limitations I might face when painting within a shared space and handling materials.
5. Two months later - what so far has been the impact of doing Wall to Wall for the development of your work? And how do you see it potentially informing anything you are planning to do?
This experience has also allowed me to experiment and take risks when I paint. This is particularly evident one of my large-scale paintings. I have considered how this would be appropriated in my degree show pieces, utilising two different painting techniques and methods to juxtapose foreground and background images. This project has made me realise the importance of the working studio space in my practice. Examining I work most resourcefully when surrounded by other creative individuals and research resources. Partaking in continuous critique has enhanced my practice and kept me on my toes.
I intend to reflect upon this experience, pushing my work into its next stage of development. I want to continue working within a communal studio environment to produce a higher standard of large-scale paintings. I will work towards using this experience as influence for my own curational projects in the future. Testing the gallery space and the importance of artists working within these environments, challenging the role of artist and curator.
Young Associates Zine
Young Associates 'INTERACT' -Curated Exhibition-
Interact was a playful and engaging event curated by the Young Associates team at The Sainsbury Centre this year. As an active member of this group, I have had the opportunity to work with creative individuals at different stages in their careers exploring; curation, the importance of a gallery space, the artists intervention, the permanent collection at the Sainsbury Centre and our role as artists as curators.
We organised this event to suit some of these themes we’d been exploring within our time as Young Associates. The concept behind this show was to innovate and refresh a space that literally can’t be moved, in order to bring new and younger audiences into the gallery space. Utilising artists and their interactive projects to form them. Exhibiting a full range of mixed media artists exploring; sculpture, projection, illustration and augmented reality. This in turn encouraged audience participation and elaborated our theme of interaction to its full potential.
The event was a complete success, due to social media advertisement and word of mouth. We were able to attract over 100 of the general public to intervene with the space. I believe this was made to become more exiting for all ages of people as there was lots to see and watch within one restricted area, allowing for the space to feel atmospheric and lively.
Documentation was a large part of this show for me, as a I was in charge of finding a photographer and pod caster to collaborate with, becoming a key artist within their own right. This was an excellent opportunity for me to expand my artistic network and bring fresh faces into the commercial gallery environment.
We organised this event to suit some of these themes we’d been exploring within our time as Young Associates. The concept behind this show was to innovate and refresh a space that literally can’t be moved, in order to bring new and younger audiences into the gallery space. Utilising artists and their interactive projects to form them. Exhibiting a full range of mixed media artists exploring; sculpture, projection, illustration and augmented reality. This in turn encouraged audience participation and elaborated our theme of interaction to its full potential.
The event was a complete success, due to social media advertisement and word of mouth. We were able to attract over 100 of the general public to intervene with the space. I believe this was made to become more exiting for all ages of people as there was lots to see and watch within one restricted area, allowing for the space to feel atmospheric and lively.
Documentation was a large part of this show for me, as a I was in charge of finding a photographer and pod caster to collaborate with, becoming a key artist within their own right. This was an excellent opportunity for me to expand my artistic network and bring fresh faces into the commercial gallery environment.
Curve -Curated Exhibition-
The creative practitioner acquires knowledge through the act of making. Whether that be an inquiry into process, experimentation with mediums or even a fortuitous mistake; such occasions develop our artistry.
The works in this exhibit record the personal learning curves of both staff and students of BA (Hons) Fine Art.
The works in this exhibit record the personal learning curves of both staff and students of BA (Hons) Fine Art.
Curve Exhibition
Private View
Curve was the second and last exhibition organised by the curation team this year. With the intension of investigating into the themes reflecting individual learning curves from the past and present practise, significant pieces the artists have learnt from. This exhibition was curated to display staff and students work. Hosting a collective of performances over the duration of a private view and ending with an In-conversation event.
The works displayed important moments of artists practices that lead them to where they are today. This acted as a planform for examination and revelations, with a chance to re-create and re-work existing pieces, that haven’t been showcased to this audience before. The intention was to create a sense of collaboration between the Fine Art staff and the NUA students, presenting their works on an equal playing field. Allowing the artists and audiences to learn from one and other, opening up interpretation for the viewing audiences, in the hope this may have inspired their practices. Taking into consideration our previous exhibition ‘Under Construction’, we were able to use this exhibition as an opportunity to learn from our strengths and weaknesses. Applying better communication within our curational methods, helped toward running a smoother show and prepare for the Degree Show.
As part of the curation team I was assigned the role of producing physical advertisement and supplementary materials. This role consisted of creating posters and collaboration with Rosie Green to make a publication, listing all of the relevant information for artists.
In regard to curation, I believe this was one of the strongest shows curated as a group. Communication was clear in all areas of organisation, allowing for a smoother transition between the artists and the curators. We were able to utilise this opportunity to develop some of our previous feedback for the Under Construction In-Conversation event. One of these was translating our labelling system, making the information accessible to audiences. We decided to resolve this by adding all of the relevant information to the publication, meaning that labels were left clear of clutter and displayed basic information about each piece.
Posters, physical advertisement and social media weren’t as effective as we intended them to be. We didn’t gather much of a response when promoting them over social media and posting around the university campus. This meant it was a struggle to attract audiences into the project spaces. The publication acted as a positive solution, we used this to give the exhibition more context and allowed the viewer to interact and take away a piece of the exhibition. Permitting the curation team to still create a context for the show, but not push it on audiences, making this an optional. The intention of the publication was to withhold some of the same characteristics as the posters, in keeping with the black and white colours and utilising the curve logo. We decided upon creating a page cover that wouldn’t distract away from the works and walls, keeping the theme minimal and clean.
As a curation team we were excited by the audience response to the works and the feedback regarding concept of the show, describing this as easy to navigate and understand. I feel the most interesting part of the show remained to be the intensely diverse range of exhibiting artists, all co habiting the same space as one and other. Allowing us to show artists from a broad spectrum of backgrounds, connecting students from varies different year groups.
The benefit of booking this project space during this time was enormous, opening up conversations with artists exhibiting within the Wall to Wall project and Curve. I found this exciting, a part of two co-existing projects displaying works in development, both within a gallery and studio environment, in turn creating an interesting contrast blurring the lines between making and displaying.
Overall, our curation methods seem to have improved during this project. I feel we had a better understanding of how we could conduct a professional and well communicated show. Making a model of the spaces, helped the instillation team put together the show more efficiently. The curating of the space was more focused and refined, allowing for a connection between PS1 and PS3. The works were more free-flowing between each space, making it easier for audiences to grasp the context of the show in a visual manner. We simplified our approach to curating, tackling with a stripped back angle to eliminate distraction and push a professional gallery standard.
In-Conversation Event
The Curve In-Conversation event was successful, we received positive feedback and suggestions for future shows and developing themes. We discussed the role of education in relation to art practice and how we learn from our tutors and institution. Expressing the need for more structured educational talks and critiques within the project spaces. A topic of conversation was regarding social media and marketing, how this has affected the outcome of all of our exhibitions. How we could use this as a platform to enhance our degree show and give insight into what we get up to as a curation team for NUA. Utilising our excising Instagram account @projectspacezero, to create content in a professional and relatable light, attracting younger audiences into the gallery space.
Private View
Curve was the second and last exhibition organised by the curation team this year. With the intension of investigating into the themes reflecting individual learning curves from the past and present practise, significant pieces the artists have learnt from. This exhibition was curated to display staff and students work. Hosting a collective of performances over the duration of a private view and ending with an In-conversation event.
The works displayed important moments of artists practices that lead them to where they are today. This acted as a planform for examination and revelations, with a chance to re-create and re-work existing pieces, that haven’t been showcased to this audience before. The intention was to create a sense of collaboration between the Fine Art staff and the NUA students, presenting their works on an equal playing field. Allowing the artists and audiences to learn from one and other, opening up interpretation for the viewing audiences, in the hope this may have inspired their practices. Taking into consideration our previous exhibition ‘Under Construction’, we were able to use this exhibition as an opportunity to learn from our strengths and weaknesses. Applying better communication within our curational methods, helped toward running a smoother show and prepare for the Degree Show.
As part of the curation team I was assigned the role of producing physical advertisement and supplementary materials. This role consisted of creating posters and collaboration with Rosie Green to make a publication, listing all of the relevant information for artists.
In regard to curation, I believe this was one of the strongest shows curated as a group. Communication was clear in all areas of organisation, allowing for a smoother transition between the artists and the curators. We were able to utilise this opportunity to develop some of our previous feedback for the Under Construction In-Conversation event. One of these was translating our labelling system, making the information accessible to audiences. We decided to resolve this by adding all of the relevant information to the publication, meaning that labels were left clear of clutter and displayed basic information about each piece.
Posters, physical advertisement and social media weren’t as effective as we intended them to be. We didn’t gather much of a response when promoting them over social media and posting around the university campus. This meant it was a struggle to attract audiences into the project spaces. The publication acted as a positive solution, we used this to give the exhibition more context and allowed the viewer to interact and take away a piece of the exhibition. Permitting the curation team to still create a context for the show, but not push it on audiences, making this an optional. The intention of the publication was to withhold some of the same characteristics as the posters, in keeping with the black and white colours and utilising the curve logo. We decided upon creating a page cover that wouldn’t distract away from the works and walls, keeping the theme minimal and clean.
As a curation team we were excited by the audience response to the works and the feedback regarding concept of the show, describing this as easy to navigate and understand. I feel the most interesting part of the show remained to be the intensely diverse range of exhibiting artists, all co habiting the same space as one and other. Allowing us to show artists from a broad spectrum of backgrounds, connecting students from varies different year groups.
The benefit of booking this project space during this time was enormous, opening up conversations with artists exhibiting within the Wall to Wall project and Curve. I found this exciting, a part of two co-existing projects displaying works in development, both within a gallery and studio environment, in turn creating an interesting contrast blurring the lines between making and displaying.
Overall, our curation methods seem to have improved during this project. I feel we had a better understanding of how we could conduct a professional and well communicated show. Making a model of the spaces, helped the instillation team put together the show more efficiently. The curating of the space was more focused and refined, allowing for a connection between PS1 and PS3. The works were more free-flowing between each space, making it easier for audiences to grasp the context of the show in a visual manner. We simplified our approach to curating, tackling with a stripped back angle to eliminate distraction and push a professional gallery standard.
In-Conversation Event
The Curve In-Conversation event was successful, we received positive feedback and suggestions for future shows and developing themes. We discussed the role of education in relation to art practice and how we learn from our tutors and institution. Expressing the need for more structured educational talks and critiques within the project spaces. A topic of conversation was regarding social media and marketing, how this has affected the outcome of all of our exhibitions. How we could use this as a platform to enhance our degree show and give insight into what we get up to as a curation team for NUA. Utilising our excising Instagram account @projectspacezero, to create content in a professional and relatable light, attracting younger audiences into the gallery space.