Camberwell MA Fine Art Degree Show

'Without beginning nor end (Leon)'

'Constructions; both social and other' (series)

Almost final

Now that the work is securely up on the wall (fingers crossed), I am starting to play around with the positioning of the floor based works. Seeing how they fit in visually with the background image and also present a visual dialogue with one another. I am happy that i chose to leave the triangular piece without any sort of framing to disturb the image as i feel the other two have successfully done this on their own and it would be quite visually overwhelming with all three the same. I am trying to organise the objects using their height to create almost a pathway for the viewers eye, leading them up to the wall work and also still enabling some space around the objects for people to physically encounter.  

These installation shots are close to my final arrangement for this work. 

Configuration 2

Hanging dilema

Once the decision had been made to have the main piece up on the wall, getting it to stay up was a bit of a nightmare. In the past i had used velcro for most foam based works, however this wouldn't be strong enough this time due to the sheer weightiness of the two pieces. Glueing it directly onto the wall would be a little too strong that it would probably never come off, plus you would need a team of people to hold it for some time whilst it dried, and so this wasn't an option either. In the end James - my helper, and i decided to try something new. We tested out sticking a wooden batten to a scrap bit of foam using a very strong adhesive specially recommended for fabrics. Surprisingly this worked extremely well and we couldn't even come close to getting the wood off of the test piece. I then cut up two pieces of mdf and glued them to the backs of each foam piece. Using strong strips of velcro, i attached these to the backs of the mdf battens and then put the two main pieces up on the wall, pressing down firmly and praying this would work. Unfortunately, by the next morning, i came into college to discover one of the two had fallen down. Damn. So onto the next attempt. I went to the hardware store down in Camberwell Green and asked the advice of the shop owner. He recommended scrapping the use of velcro altogether and attaching hooks to the back of the battens which could then hook onto a nail up on the wall, so they would literally be just hanging. I'm not the best person when it comes to DIY but with the help of James and his accurate measurements, we managed to get the fallen foam piece back onto the wall via this method. When it came to taking the other piece off of the wall to do the same, it didn't want to come off, even with a lot of pressure. And so James and I decided that it would probably be best to leave this one how it was, as it seemed pretty secure. I was really pleased with how the piece as a whole now looked up high on the wall. I felt its monumentality had successfully been achieved. Although me initial idea was to have the work slouched down partly onto the floor to emphasise its materiality, there was just not the space for this alongside the floor based objects. However, with it hanging on the wall, if viewed from the side, you are able to see that the material curves slightly at the bottom and flicks out. With this physical attribute, i think it enables the viewer to still identify the piece as an 'object' which is what i wanted, as opposed to being completely flat against the wall. This for me would be too pictorial and resemble purely a photograph or a painting, not a sculptural object. 

Configuration 1

Trial and error

Construction (3)

2 Halves

1 Half

Construction (2)

Selecting the imagery

Spacial planning & adjustments

The space has been cleared AT LAST! Now left with the essential materials for me to visualise a possible outcome for the show. I invited a few of my classmates into the studio and after explaining which image i intended on printing, asked for their opinion on the suitability of the two main central pieces. However, all agreed that because the image i intended to exhibit was of a monumental building, the height of the foam would have to be extended. As it stands, this main piece was not achieving the intended dominance and authorship i had hoped it to, therefore i needed to make some adjustments. I went back to Pentonville foam suppliers and ordered another two pieces of 2" thick, 23 grade foam which i would then attach myself to give the ideal height. 

Final show layout experimentation

Written Paper

When beginning the MA, my initial intention was to explore objects and mediums in order to intervene in image-making. Looking at the resonance of both material and image and how to use this imagery to create some sort of visual dialogue between the two. Employing a diverse range of material including slide projections, photographic prints onto Styrofoam and objects to explore ideas of sculptural installation, image and setting. Questioning how the tactility of the mediums used communicate within the work and what then happens to the material in the process that may influence the reading. Through this use of mixed media experimentation, I began looking at modes of display and composition. 

The selection process of choosing specific imagery to work with has become extremely significant within my current work. After experimenting with domestic set ups, using quite personal images of family and  then generic landscape images alongside quite random objects, I have decided for my final project to escape the inclusion of the figurative and use visuals slightly less personal as I want them to contain a degree of ambiguity and uncertainty. 
After attempting to print onto other materials such as polystyrene, this has not been quite as successful as my original foam printing technique; therefore I have decided to continue using polyurethane foam as my predominant material within these assemblages. Exploring this idea of sentiments put into the material and archiving memories. I have constructed a series of objects combining random shapes of polyurethane and wood. This additional support acts as an unconventional framing for the image. I plan to incorporate these within a large scale ‘backdrop’ visual in order to offer alternative dimensions. This work will be part of an enquiry into how we encounter and experience images and how images relate to sculptural objects.

Following my graduation at Camberwell, I have been shortlisted to partake in an exhibition for the Saatchi New Sensations prize 2012, which takes place in October, during Frieze week. This however clashes with a residency in Malta organised by one of my fellow classmates, which I have also committed to. I am hoping to join the group a couple of days later so that I can still participate.

The residency is a two week long programme run by an organisation called MILKSHAKE. The workshop will provide an opportunity for us to develop our practices personally or in collaboration if we choose to do so. The first week of the residency will be dedicated to meeting some of the local artists and the making of work, and the second week will be focused on the set up of the exhibition leading to the private view and opening of 'Ogygia'. 

 After the residency and Saatchi exhibition, I am hoping to find a studio somewhere in London so that I am able to continue developing my practice. Alongside the continuation of making work I would like to find a job based in a small non commercial gallery or an artist-run project space. I have had experience working as a gallery invigilator but would hope to find something slightly more challenging and more involved with the artwork itself.  

Degree show prototype print

The ironing lady

Construction (1)

  

My first construction from the series Constructions; both social and other, has been compared to a segment of a painting by French artist Pierre Bonnard 'The Mediterranean' (Triptych), 1911 - as shown above.