02 - 21 - 20
In preparation for the Interim Show I was in a shared space with William, Tristram and Challa and we organised the wall spaces we would all occupy. With help from Kyran and my partner Tina we managed to fasten brackets to each of the pieces, learning along the way the right end of the drill from the other.
In preperation for this show too I created the first draft of my artist statement, some of which made it into my final artist statement, keeping in mind to mention my process, materials, key themes, artistic influences etc.
I aimed to be striking by placing the three works in this almost triptic formation, I intentionally left the space to be a lot longer than a tryptic to avoid this confusion. However on reflection and after receiving my feedback it was critiqued that the works could have benefitted from even more space between them. This is what influenced my future considerations for the space these larger scale works grow to inhabit. (E.g. Penultimatum and my proposed show form).
(Left to right) Sealed, 2020,
Freyed, 2020 and Up There, 2019.
We identified during the critique that the central work was perhaps the most striking of the 3 and that it would work better separately from the two more tablet-like works due to its imposing shape and stark black and white.
I also felt 'Sealed' was highly successful, with its moving away from figurative, cave-like drawings of 'Up There' - this creates a less direct, dynamic viewing experience, much like the theory Brian Froud applies to his more illustrative markmaking.
Abstract Expressionist painters to research:
Susan Stewart’s book ‘On Longing’
Ian Bogost’s book ‘Alien Phenomenology’
The critique for my research journal was it was a bit disorganised, in responce to this I began to create this website and blog so as to organise and collate my research in a concise, clean and appropriate manner.