We have been working on miniature exhibition spaces, designed to dupe people into believing that a brand new white cube gallery space is exhibiting our work. These miniature exhibitions were then displayed in a small room above the Roath Park pub, an exhibition of exhibitions.
My miniature exhibition displayed some miniature surrealist text and drawing work.
Our SITE project group launched CSAD’s first ever ‘Locker Exhibition’ on Thursday.
The exhibition was really well received, and offered us a really helpful insight into how to promote, arrange and host an exhibition.
The work that I chose to display was a development on some of the initial drawings I was doing in my subject brief. Working with layered sets of marks, although my focus has moved away from these drawing pieces – I thought this would be a good opportunity to just explore a way of displaying the work in a more three dimensional format.
It has been helpful to consider contemporary uses of video and photo-montage. I have found Ben Lewis Giles’ work particularly interesting in this area, his work contains rich and playful narratives drawing from a range of subject matter. His artist statement:
“I found myself suddenly neighbour to the birds; not by having imprisoned one, but having caged myself near them ”
Nature, metamorphosis, light, colour, collage,collaboration, juxtaposition, repetition, excitement, evolution, manipulation,music, television, improvisation, participation and seduction are all components in my practice.”
I am particularly interested in his video-montage work, his use of archived footage clips to achieve a narrative is something that I am looking to explore. Through the use of archive video clips, he begins to establish a clear theme running through each video, yet although a theme can be seen, a distinct and coherent narrative is difficult to pinpoint.
A while ago, I attended James Green’s exhibition ‘Rhondda World’. I was particularly struck by the ‘collage room’, a small room where every part of the walls were covered with miniature collage cards from James’ vast collection.
In the exhibition guide Dr. Jon Clarkson writes:
“They do not track back to a set of discrete events that can be identified and translated into ordinary English, instead they radiate out into constantly shifting meanings. Each time they [the collages] are displayed, they are shuffled and different connections between the cards are made possible. There are so many that it is impossible to grasp them simultaneously in their individuality and their totality”
I was particularly interested in this comment on the exhibition, for me this brings my mind to the understanding of a conditions of post-modernity. Each card exists independently, but impedes on and encounters others, making it difficult for the individual collages to assert themselves independently. They exist richly as a whole, but at the same time do make for quite an overwhelming experience of information overload. These ideas interest me, and add a fascinating conceptual element to the work, one that I am interested in bringing forward into my own practice.