11/1/16
What potential is there for curatorial experimentation in the development of your visual language? How have you demonstrated this?
When it’s come to me experimenting with how my paintings will be displayed there’s been some things I’ve had to consider. For example, how high on the wall the paintings will be, how separated will they be and if they’re all be in a straight line or not against the wall.
But something I’ve began to consider is actually moving away from a traditional way of displaying paintings onto the wall. Due to the objects that I am working with I have thought about how the pieces would look if they were laid out across the floor. The paintings are of objects that I went hunting through rock pools and beaches find so I wondered how having the viewer look down at the paintings from above to reflect the action of belemnite hunting.
How have your third year crits facilitated change in your practice; in particular, how have comments prompted you to consider the ways in which your work is received or read?
During some of my crits I would stay silent and let the work speak for itself. This was something I found really useful because it let the viewers say what they read about my work without my artist influence. I felt that my influence might discourage what the viewer sees, whereas I wanted to learn how people with no history on my work viewed it. I learnt things about my pieces through their thoughts that I wouldn’t have seen. I developed on the comments that were made about my work and this is starting to make my work stronger.
You are curating a three-person exhibition, showing their work will be you and two other contemporary practitioners of your choice. Explain who they are and the reasons for your choice.
For the three-person exhibition I decided I would show my work alongside LISA MILROY and JULIE ROBERTS. Both artists are similar in my work by painting objects and I feel that together our work could have a visual conversation. MILROY is known for her still life paintings which she usually paints in either rows or patterns, and ROBERTS style is something that drew me towards her work. I feel that together these pieces could work strongly in an exhibition together with their styles and use of subjects. Each of us paint objects but in our own styles.
What is important when considering how your work might be installed/displayed?
When I’m displaying my work it’s really important to consider how the viewer is actually going to view this work. So whether the positioning of the pieces will interfere or add to the viewers reaction of the piece. Or if the lighting adds something to the work, or does the opposite and takes away. As I said before, it’s all in the process of experimentation that you’ll learn what works well when displaying the work and what doesn’t.
What potential is there for curatorial experimentation in the development of your visual language? How have you demonstrated this?
When it’s come to me experimenting with how my paintings will be displayed there’s been some things I’ve had to consider. For example, how high on the wall the paintings will be, how separated will they be and if they’re all be in a straight line or not against the wall.
But something I’ve began to consider is actually moving away from a traditional way of displaying paintings onto the wall. Due to the objects that I am working with I have thought about how the pieces would look if they were laid out across the floor. The paintings are of objects that I went hunting through rock pools and beaches find so I wondered how having the viewer look down at the paintings from above to reflect the action of belemnite hunting.
How have your third year crits facilitated change in your practice; in particular, how have comments prompted you to consider the ways in which your work is received or read?
During some of my crits I would stay silent and let the work speak for itself. This was something I found really useful because it let the viewers say what they read about my work without my artist influence. I felt that my influence might discourage what the viewer sees, whereas I wanted to learn how people with no history on my work viewed it. I learnt things about my pieces through their thoughts that I wouldn’t have seen. I developed on the comments that were made about my work and this is starting to make my work stronger.
You are curating a three-person exhibition, showing their work will be you and two other contemporary practitioners of your choice. Explain who they are and the reasons for your choice.
For the three-person exhibition I decided I would show my work alongside LISA MILROY and JULIE ROBERTS. Both artists are similar in my work by painting objects and I feel that together our work could have a visual conversation. MILROY is known for her still life paintings which she usually paints in either rows or patterns, and ROBERTS style is something that drew me towards her work. I feel that together these pieces could work strongly in an exhibition together with their styles and use of subjects. Each of us paint objects but in our own styles.
What is important when considering how your work might be installed/displayed?
When I’m displaying my work it’s really important to consider how the viewer is actually going to view this work. So whether the positioning of the pieces will interfere or add to the viewers reaction of the piece. Or if the lighting adds something to the work, or does the opposite and takes away. As I said before, it’s all in the process of experimentation that you’ll learn what works well when displaying the work and what doesn’t.