Display Strategies

Plinths -

http://www.aestheticamagazine.com/blog/mark-leckey-the-universal-addressability-of-dumb-things-at-nottingham-contemporary/

Above is an image from The universal addressability of dumb things by Mark Leckey at Nottingham Contemporary Gallery. 

http://www.designweek.co.uk/whats-on/haiti-art-and-vodou/3035448.article

This image shows the exhibition of Kafou, Haiti, Art and Vodou by Pierrot Barra again at Nottingham Contemporary Gallery in 2012 to 2013.

Both of these above exhibitions combine the use of plinths to exhibit their work. The first image portrays a blank canvas painted in a vivid green which contrasts against the artwork on display. We plan to paint our plinths all in which again at different heights and sizes similar to that of the first image. The second image displays a plinth joint together on different levels in a wooden effect. This relates to our idea of the 'island' of plinths.

Suspending Work-

http://moodle.bcu.ac.uk/biad/course/view.php?id=947

This Exhibition above shows The Collective by Irwin. It explores how to suspend work and in the case, people. To suspend work we can use fishing wire from one side to the other, however we have to be mindful of weight of the artwork.

Hanging Work- 

 Below is an exhibition called The dream and the promise by artist Aleksandre Mir in Nottingham Contemporary Gallery. This is a series of 30 various sized paintings all hung at different heights. It is very important at looking into the height when hanging the pieces of artwork. Mid height is the best as most people can comfortably engage with the work. 

http://www.flickr.com/photos/nottingam_contemporary/4457677418/

 

 

 

 

 

Exhibition Presentation and Display Strategies

Room PS1...

What we can and cannot do with this space.

Do's: 

• We can use nails and screws.  
• We can hang with white tac, command strips, tacs and masking tape. 
• We can paint the walls as long as we protect the floor. 
• We can make use of the various lighting.
• We can hang objects from the ceiling safely. 

Don't s:

• We can not use candles.
• We can not do any sanding whether manual or electrical.
• We can not paint the floor. 

At the end of our exhibition we have to completely reinstate the space this means if we use objects such as nails we have to refill the wholes and the repaint the area. The room has to be left as it was found. If we choose to use plinths we should repaint with a number of coats to ensure work is shown to its best ability. We also need to look into completeting a risk assessment for our exhibition which will first need to be checked over by our tutor and then passed onto Ana Rutter in the health and safety depatment. 

 

 

 

 

 

The Artists

What we are Looking For:

Following our theme of ethereal we need to uses pieces within the exhibition that are delicate with connotations of fantasy, fairytale, supernatural and the magical. The concepts and context behind these pieces need a strong link to the definition of Ethereal and they also need to have an ethereal quality visually. We need to use small to medium sized work which fits in the structural space that we will build for the exhibition in order for the viewer to travel through a dreamlike and disconcerting journey. 
 

 

Jack Marder

Ilona Kazakevica

Becky Price

Kerris Stirling

Lucy Orme

Sam Ellis

Sukhjinder Nahal

Becky Hadfield

Polly Willets

Riba Begum

Through the Ether

Definition of the Ether 

e·ther  (ē′thər)

n.

1. Any of a class of organic compounds in which two hydrocarbon groups are linked by an oxygen atom.

2. A volatile, highly flammable liquid, C₂H₅OC₂H₅, derived from the distillation of ethyl alcohol with sulfuric acid and used as a reagent and solvent. It was formerly used as an anesthetic. Also called diethyl ether, ethyl ether.

3. The regions of space beyond the earth's atmosphere; the heavens.

4. The element believed in ancient and medieval civilizations to fill all space above the sphere of the moon and to compose the stars and planets.

5. Physics An all-pervading, infinitely elastic, massless medium formerly postulated as the medium of propagation of electromagnetic waves.

 

Explanation Of The Ether

Is anything faster than the speed of light?

 

Yes, the speed of thought.

 

Light is an electromagnetic radiation that travels in a wave form, exciting atom after atom in turn to pass the information on as to the frequency of each particular wavelength, red, blue, yellow, or light may travel in a stream of particles, whatever.

 

All of this happens fast, in fact, in one year light will travel six million million miles, that is VERY fast but nowhere near as fast as the speed of thought. If you and I were telepathic, and one of us were six million million miles away and I sent you a thought, you would receive it immediately . Now, THAT is fast. The same conversation with flashlight, even a very powerful one picking out Morse code, would take a very long time.

 

As mentioned earlier, light travels in a coarse zig-zag time-consuming manner as any scientist will tell you but how does thought travel and through what medium? I'll try to explain. Do you remember the chrome ball bearings, each suspended in a line of 5 or 6 - it makes no difference how many - and when you pull one out from either end and let it go, the one on the other end instantly pops out? That is how thought travels.

 

The use of the ball bearings is only a simile, but what is it that these ball bearings represent? the answer to this is: ether.

 

Not the substance used by doctors for cleansing, but the stuff that is known to modern science as the space between particles. Space between particles?

 

At this point a few well known scientific facts must be stated.

 

Fact 1. A block of iron is about as solid as you can get but iron, the same as everything else, is composed of atoms. An atom has a nucleus surrounded by protons and electrons that spin around it. The size of the nucleus in proportion to the electrons and protons is about the same as between the Sun and the planets. Scientists know this to be fact.

 

As you can appreciate, there is a lot of space between these particles. This space is called the ether. Sound waves, radio and TV transmissions all pass quite happily through solid objects because they are at a different frequency - or level of vibration. If we could project ourselves to the frequency of TV, Radio or mobile phones, the air would be full of these signals and we would know what they look like.

 

Fact 2. Humans - and everything that has 'life' - has an etheric body which looks identical to the physical body but functions at a higher frequency. In fact, it is at the same frequency as the ether. Could this be where it derives it's name? Scientists know that we are electromagnetic in origin. Most advanced medical tests assess electrical impulses in the brain and elsewhere in the body to find areas of activity or lack of it that may be causing a problem. Our thoughts register activity in the brain. This activity can be seen with modern medical equipment but not the 'thought' itself. The thought operates at an even higher frequency but it is quite real. The thought registers in the ether.

 

Because Mankind has been denied Spiritual knowledge for so long, this sixth sense has become under developed and under used by most people. However, don't worry, there is no chance of it 'falling of.' I say most people because some do develop this awareness. Most Governments have as part of their security department, remote viewers.

 

These are people who learn and then train how to tune in to this higher vibration by the use of meditation, or other mental protocols, and travel through the ether to spy on each other and on selected targets.

 

There are many books on this subject written by well-respected people. Many well known mediums, Doris Stokes, Stephen O'Brian, etc, as well as healers like Harry Edwards, Sia Baba and of course Jesus, all used this facility.

 

So, where is it? It is here, all around us but we cannot see it because it is at a different vibration or frequency...just like radio or TV signals. So what? you may say.

 

Back to the speed of thought. In the ether, thought is reality. It is transferred instantly through the ether because everything is ether at that level, including you and your surroundings. Remember the chrome ball bearings? Because the balls are touching, energy is transferred from number 1 to number 7 instantly,there is no loss of time...just as in the ether. The balls don't go 1, 2, 3, 4, 5, 6, 7 - they go 1-7 in-out...step in #1 and step out #7.

 

In this environment our selves are ether. If we want to go to the planet Mars, we simply think it and it happens. Think Mars 1 and arrive on Mars 2. The distance doesn't matter. All this happens because we are in the ether and are part of it... all the same substance.

 

Moving on to sound...which is found in a much lower vibrational level than light - and therefore travels much slower because it uses a physical medium to travel through: air or solids.

 

If one could increase the frequency of the sound to closer to that of light, then it could travel at closer to the speed of light...the perfect example is radio.

 

It has happened already, if man can do this with sound then the possibilities for other things are there. The British lad who hacked into U.S. military computers said they were developing a craft that had an engine that worked on VIBRATION. He did not know how, or if, it worked only that it was being developed.

 

What Is The Ether And How Does It Work?

 

The article by Sir Oliver Lodge describes the ether as being one million million times more dense than water, and that one cubic inch would weigh a million tons if it were material in atom form that we are familiar with. That brings us to a conclusion that I will expand upon after these following pieces of information.

 

An article in the Psychic News by an eminent doctor tells us that any - and every - cell in the body has the ability to manufacture any enzyme or hormone that is needed for the well-being of its host. Every body carries the cancer potential but the process is just waiting to be turned on or of. The mechanism that controls these functions is the DNA.

 

The DNA, acting on instruction from a source of intelligence, instructs the cell to manufacture or activate. It isn't known weather the cell has the blueprint or is just following the recipe given to it by the D.N.A., the important thing to note is that the cell has access to supreme intelligence and the ability to arrange, at the atomic level, the protons and electrons, etc. in the right order to have the desired effect. In short, creation is taking place courtesy of the intelligence that it has access to. Silver Birch once said "a cell does two trillion things a second, you could not hope to understand."

 

One more thing. It is always said "as above, so below." On a modern computer you can save lots of pictures but comparatively little sound. The reason for this is that pictures contain one dimensional images with little information: this dot is blue that dot is yellow. Sound, on the other hand, is three dimensional at least, with instrument, definition, volume, and tone depth etc. ...and takes up vastly more computer memory.

 

This is how I believe it works in the ether.

 

If you were one side of the room and I on the other, the space between us would be filled with air atoms. These atoms are one million million times LESS dense than the ether. The ether is a solid block of intelligence but still a solid block that material bodies do not penetrate. What happens is this...

 

Just as on a TV when images move across the screen, the dots or pixels are told what color to be at any given time. And so it is with our bodies...but in three dimensions.

 

Each 'molecule' of ether receives the information from the individual bodily intelligence as to what it will be at any given time. Cells, as we know, can create and change substance at will, and it is this will...this intelligence...that travels through the ether giving the illusion of movement.

 

Physical mass does not move, only the information of the swirling mass of atoms that make it what it is.

 

As the metal in the electric cable waits for the electricity to pass along it, so, too does the ether wait for energy and intelligence to pass though it.

 

All that exists has life...and a level of intelligence of mind that defines its identity and integrity at an atomic level - be it a stone, a book or a human body. A chair, even though it is 'inanimate', is still a swirling mass of atomic mind. All that has form has intelligence that is life itself.

 

In the article by Sir Oliver Lodge, he describes how light, if it were not to reflect on anything would be invisible at least to the naked eye. All we see is the reaction of light. So it is with matter: we register only the reaction of individual intelligence with our five senses.

 

Thought and life itself in the spiritual realms transcend these limitations for we then become part of the ether, part of this supreme intelligence that knows all. And if we want to go to the planet Mars, we just think the intention and step out the reaction, however many million miles away.

Information from http://www.rense.com/general33/ether.htm.

Group Meeting

21st January 2014

Finalized List of Artists:

Becky Price - Glass Shoes
Becky Hadfield - Acetate pieces
Jack Marder - Large scale abstract paintings.
Kerris Stirling - Globules tight installations.
Lucy Orme - Wax iceberg
Sam Ellis - Glue gun flowers
Irene Kaseavic - Women portraits x 4
Sukhjinder Nahal - Thread cube piece
Riba Begum - Magpie painting
Polly and the ghosts (More information on this one to come, as she is a maybe)

Space Design:

We are going to manipulate the space using the fabric to exaggerate the theme of an ethereal/fantasy world, our final idea for the space is to create a marquee/tepee this will separate the Ethereal from the 'real world'. Underneath the canopy we have decided to present the various work on the 'island' of plinths as Dom suggested. This will create an unorthodox exhibition as we not using the wall space to hang any of the artwork. 

Titles: 

We have decided with Ethereal as a concept for our show, however we need to decide on a title for the exhibition that will be used for advertising purposes. Here are the following title suggestions:

• Through the Ether
• Into the Ethereal
• Through the Ethereal
• No Title?

Personally I thought the use of Ethereal in the title was perhaps to obvious as it states our concept, I prefer the title 'Through The Ether' this links the idea of taking the viewers on a journey through our exhibition and also the idea of entering this ethereal world.  We have all decided on Through the Ether as our title for the exhibition.

Sound and Lighting:

We then decided to explore further into the design of our exhibition, i.e. sound and lighting. The idea of using sound in our exhibition is an interesting concept and would work well for our overall show. I think some soft music playing quietly in the background would create an ambient atmosphere and add to the overall experience of the exhibition. We would place a number of speakers around the room which we could source from Anna in the technical department.  We also discussed lighting within the show, the idea of using gel over lights to create a dark dusky atmosphere. I also like the idea of using spotlights to focus on certain pieces and the use of fairy lights hidden behind the fabric so that they create a shadow through the fabric.

Plinths:

We will need a large amount of plinths to create the desired effect for the layout of our exhibition. We thought  of using different materials to create the plinths such as perspex, wooden plinths painted white and the possibility of using fishing wire. The fishing wire plinths would be difficult to hang larger objects on but we could suspend the flowers by artist Sam Ellis on these. We also discussed the idea of hanging glass shoes upside down however we would we would need to discuss this with Becky Price to ensure she would be happy with this concept. Another thought was to make use of Salt within the exhibition which also links to our last group show. This would subtly reflect the idea of journey as the salt had gone from our last project to this one. The salt could be scattered across the plinths to link to the work and another intention was to sprinkle the salt over the floor. I don't personally think that this would look aesthetically pleasing as it could distract from the pure and fresh exhibition that we are trying to create. 

Opening Night:

We have decided on combining a private viewing along with an open viewing, therefore we will invite various students and tutors but also leave the event open to enable other BCU students to attend the exhibition if they wanted to. Biancas mum's business has offered to provide wine for us at a small donation, which will be perfect for our opening night. Along side this we have decided to provide food we have not yet decided whether this will be buffet food, bakes or canapes.

Budget:

We have decided on a budget of £150 each which will mean we have to each donate £10 to the budget, this should enable this to buy all of the items and materials needed to present the exhibition.

• Fishing wire.
• Lights.
• Plinths.
• Food.
• Material.
• Advertisement.

Plan of Action - Checklist

Agenda for Next Meeting:

• •  Updated list of confirmed artists.
  • Tour the space, PS1, measure the entirety to give us measurements for the fabric that we will need to buy. 
  • Discuss other exhibitions that members of the group have seen, any inspiration or ideas form them. 
  • Look into lighting and feasibility of it. 
  • Budget! Decide on a budget for the show, then establish how items will be paid for. A kitty with or a delegated person with reimbursement.
  • What do we need to buy for the space?  > Material- sourcing and pricing the material.  > Plinths - Who will make them, when can we use the workshop. Organize meeting with Rob to discuss price of materials.  
  • Discuss food and drink for the opening night- buffet, alcoholic beverages, canapes .
  • Update the group on advertising ideas, images and social events.
  • Update the group on the press release - will need to read the 1st draft to then brainstorm suggestions and feedback. 
  • Discuss health and safety form this will need writing off by John. 
  • Ensure everyone is happy with the development and direction of our exhibition.

Advertising an Exhibition

In order to create a successfully advertised exhibition that draws in people to visit, I have decided to look at past popular shows and how they have been advertised.

Examples of Advertisements:

 





Here is an example of a portrait exhibition held at the National Portrait Gallery in London back in 2002. The first element of this advertising poster that caught my eye was the iconic figure of Kate Moss, perhaps one of the worlds most famous supermodels. Another strong element of the design is the vivid background which also bleeds into the portrait. This combined with the bold typeface creates an appealing poster, it incorporates all of the important information needed such as the date, place and title of exhibition. 

Both Marcel Duchamp and Damien Hirst's exhibition posters focus on using a white background as a basis for the design. To then add visual excitement to the piece an article of each of the artists work that will be involved within the exhibition becomes the main focus point of the poster. This gives the viewer an idea of what to expect from the show whether the artwork will be modern, abstract, traditional, etc. This is perhaps the most vital element of the advertisement as it defines what sort of audience you are trying to entice to the exhibition whether this be young upcoming artists, or art dealers. Therefore you could say a more contemporary poster such as the 'Modern Pop and Street Art' would perhaps appeal to a younger audience as it is an abstract, and popular style of contemporary art. Some of these posters have filled the entire background with a piece of artwork from the said show which I think works very well, it is visually exciting and leaves no negative space. On our advertisements I hope we will use a strong piece from our exhibition that is visually exciting and catches the viewers eye, layered on to the background should be the main basic but vital information such as title, date and location.
  






http://s-wilson1013-dc.blogspot.co.uk/2011/09/researching-materials-exhibition.html
http://dangerousminds.net/tag/Damien-Hirst
http://www.ozanne-rarebooks.com/artgraphique.html 
http://www.artrepublic.com/prints/15472-chateau-de-pommard-modern-pop-and-street-art-original-exhibition-poster.html  
http://madeuk.blogspot.co.uk/2012/02/brighton-art-fair-made12-poster-design.html  
http://shop.tate.org.uk/exhibitions/exhibition-posters/icat/exhibitionposters
http://shop.tate.org.uk/content/ebiz/shop/invt/15360/painting_now_exhibition_poster_15360_large.jpg
http://shop.tate.org.uk/content/ebiz/shop/invt/14316/italian_art_vintage_large.jpg

Plan of Action - Advertising

We need to promote our exhibition by way of advertisement to entice people to visit our show. This process needs to be thoroughly thought through in order to create a strong basis of advertising which catches the eye and encourages people to visit the exhibition. Here is our plan of action:

• Identify the Audience - We aim to advertise our exhibition to Birmingham City Students only particularly those studying art.
• Write a Pitch- We need to write a small paragraph to our targeted audience on our marketing materials. This will be a brief description about the exhibition, along with details of the show, i.e, food on the opening night. This is to encourage people to visit the show. 
• Create a Budget - We need to know our budget in order for us to either print or order our advertisements. 
• Design the Advertisement - We need to design s strong, professional advertisement which will be printed on flyers, posters, emails, the internet and business cards. These need to be eye catching and draw the viewer in to encourage them to visit the show. 
• Where will we Advertise - We need to encourage as many BCU students as possible. Therefore flyers in student accommodation. Posters in the various campuses, especially Margaret Street in the social space.
• Social Advertising - We should use social media sites such as Facebook and Twitter to our advantage. Create an event from which we can invite students and advertise our show. We could also look into local student radio show Scratch. This would broaden our advertising range.

Floor Plan

In our last meeting we had a look into floor plans for our exhibition. As we have chosen against using the wall it means our show will have an unconventional layout. As of yet we are still undecided on the floor plan.

Possible Floor Plans:

The above image is my idea of using the voile fabric to create a canopy from the centre of the ceiling which drapes out to floor level.  Inside the canopy will be our exhibition, I think that this layout emphasizes the theme of Ethereal as the viewers walk into the room it will suggest the idea of spirituality because of the light colours and flowing fabric. I also thought we could use lighting behind the fabric such as fairy lights as it will add to the overall atmosphere of the exhibition.

The above image portrays Faiths idea of using the fabric to shape the space on the outside as you walk around the exhibition and also the inner space in which we would hang fabric for the viewer to make their way around. The inner space would also contain the majority of the work either hung or floor based.

The above image shows Anna's idea of altering the shape of the space using the fabric. The viewer would walk into the exhibition through a passage of fabric and then the show would open up into a circle with the work exhibited in the central space.

This idea is from Dom. He envisages an island of piled up plinths upon which the pieces can be equally distributed. This will create a very unconventional show that will draw in the viewers attention. I think the plinths would all need to be painted white as to not distract from the artwork and to also link the idea to our theme.

 

 

Group Meeting

14th January 2014

Following our group tutorial with John we had another meeting in order to finalize ideas for our show so we can begin to plan and organize our ideas and put them into action. Our first plan of action was to give each member of the group an element of the exhibition that needed planning. So far Julia has offered to write the press release with the help of Anna, Emma and Megan creating the final design. Bianca is creating a group blog for our exhibition from which all of our blogs will be linked. Hannah, Ray and I are in charge of advertising the event and designing posters and flyers for our exhibition. Although we all individually or as small groups are organizing our set plans we will feedback to the group each time for suggestions and to make sure everyone is happy before final decisions are made. Once this was decided we continued to develop our ideas for the exhibition.

Further Artists:

Sam Ellis- This image is a piece by artist Sam Ellis in her second year of study at BCU. These floral forms are of various scales both smaller and slightly larger. They seem to appear to be made out of hot glue which has been shaped into these forms and then covered in vivid inks and brusho. We were all attracted to the design and composition of these pieces as they draw the eye around the flowers. These link in really well with our theme of Ethereal because of their delicate, fragile nature. It would be interesting to have these scattered across the floor and then slowly crawling up the sides of the walls.








Lucy Orme - This piece is by artist Lucy Orme and has a strong focus on time which links in perfectly with our theme. This is plaster sculpture with melted wax creating the crystallized forms that you can see within the image to the right. This piece would work well as either a floor based piece or placed on a plinth near the glass slippers as they compliment one another very well. 

Kerris Stirling - The piece below is by artist Kerris Stirling. It presents small cellular forms with various colourful growths congealed into one another. This piece links well with the floral forms made by Sam Ellis. Again they have a strong link with our theme of Ethereal with this mysterious aura surrounding the idea and concept of the.                                                                

                                                                       By choosing these further artists it has added another dimension to our show. It allows us to focus on various types of art work, rather than just wall based pieces. They also emphasize our chosen theme of Ethereal through the nature of the work and the concept and ideas behind them.







Group Progression: 

After Johns feedback it was suggested that we do not use the wall space to hang the pieces off as you would in a conventional gallery. We all agreed that this would give our show an effective edge. Now we had to come up with a solution to display the work. We could use the floor space and also hang some of the pieces from the ceiling, this could be done by using fishing wire to add to the illusion that the piece is floating. There was also the suggestion of facing the work outwards. I had the idea to hang the cube by its point so it created a diamond shape. We will further discuss all of these ideas once we have had our lecture with Mons concerning hanging pieces in both conventional and unconventional ways.


Title Suggestions:

• Off the Wall- A literal title in terms that we are not using the wall.
• Ethereal - The concept for our show.
• Arial - A synonym of Ethereal, however to obviously linked to Disney character.
• Fantasia - Perhaps to obvious and doesn't link so well. 

 We are still undecided with a title and so for our next meeting we will all have a think of one that will fit our exhibition perfectly.
 
 
 

The Ikon

14th January 2014

Today with a few members of my group we visited the Ikon Gallery, Birmingham to take a look at two local exhibitions, one by artist Tim Johnson entitled The Luminescent ground, the other by artist David Tremlett, 3 Drawing Rooms. We visited the Ikon in order to gain a insight into how a professional show is exhibited along with advertisement and press releases.

The Luminescent Ground 

This exhibition is by Australian artist Tim Johnson and took place in the first floor galleries. This exhibition mainly focused on wall based painting, however there were also a few video pieces. The exhibition mainly focused and immersed the viewer into the culture portrayed in the paintings. Johnson is heavily influenced by Buddhist theology and also ancient Chinese wall paintings. His exhibition at the Ikon displays Johnson's work throughout his career many pieces from the 1980's.

This image shows the entrance to the exhibition. It has a mixture of art mediums including large scale and a series of small scale paintings and so attracts the viewer due to the variation on colour and size. These paintings are a slightly different style to that of the paintings situated as you venture further into the exhibition. The entrance introduces the viewer to the exhibition and gives a general indicator to the style of artwork on display and in this case suggests culture. 

This image shows the space as you walk in to the main body of the exhibition. The majority of the pieces are large scale paintings that link to and compliment one another. Within this image I have captures a still of three very different styles of art work, two series of paintings- one with four large scale and the other numerous amounts of smaller paintings. There is also two small TVs showing a piece of video art.

This is the final stretch of the exhibition again with a mixture of art on display. The two monotone pieces contrast against the colourful piece in the far, the viewers eye is led around these paintings taking time to look through the glass panels at the series of piece. Each wall is filled with one large scale piece in order to give it space and also keep the viewer focused solely on the only painting within direct eye view.

  This exhibition introduces the viewer to Johnson's interest in culture which you seem to become immersed in as you walk around the show. This exhibition seems to encapsulate the viewer because each paintings compliment one another so well with colours that link to the next painting on. The entrance seems to focus on African culture and so vivid colours catch the eye whereas as you proceed through the exhibition the paintings become focused mainly on Buddhism and ancient Chinese art and so the colours are much more toned down using a washed out colour palette. After seeing this exhibition it has inspired me to use space wisely and ensure each piece of artwork has its own space as so the exhibition does not become seemingly cluttered.

 

3 Drawing Rooms

The exhibition by British artist David Tremlet took place in the second floor galleries. This is a site specific piece drawn by the artist and his assistants over a several weeks using pastel pigment. Tremlet is well known for his site specific work and regularly travels the world alone in order for influence and inspiration. His exhibition in the Ikon uses different compositions in each room, vertical, horizontal and large blocks, this along with the vivid colours used alters the viewers perception of the gallery space. 

The first room focuses on a vertical composition with strong vivid colours of blue and red juxtaposed against the more earthly neutral tones. This room is inspired by Tremletts visit to Japan in 2011 and his focus on the sky high city buildings which is portrayed in the variety of shape and height. This room has a strong impact upon the viewer when you enter the room due to the height and imposing colour and design.

This second room is a strong contrast against the first as it focuses on two monotone colours in large blocks. The black area has been created using black graphite grease, a residue from motor vehicles engines. This room largely differs from the two other brighter rooms and Tremlett describes it as 'a transitional space'.

This is the third and final room of the exhibition. It is the largest are of space and this is perhaps emphasized by the horizontal stripes of colour. This room is entitled Pileup and is a recreated design that is project at a Russian business studies institute. This piece use earthly tones which compliment one another alongside the other monotones. 

 This exhibition brings together concepts of the importance of space and how it is presented through colour and design. It also makes the viewer appreciate the architecture of the building as it draws attention to the design through composition. I think it would be interesting to use colour on the wall in a simple pattern or design and then use the floor space to exhibit the pieces we wish to use.

Tutorial with John

14th January 2014

Today we had our first group tutorial with John to feedback our progress on planning the exhibition so far. We presented him with all of our ideas to date, along with the artists we wish to use and how we wish the exhibition to proceed. John was very pleased with our groups progression but did give some suggestions to develop our exhibition further.

Johns Feedback and Suggestions:

• Entrance is a key view point - need to seduce the viewers into the space whether it be through material, scale, video, or exposure. 

• Do not ask artists for concepts behind their work, interpret it according to our theme. 

• Suggestion of hanging work from the ceiling in particular the white threaded cube. Use coloured cord. 

• Need to document the work and the exhibition progression. Could use a time lapse to record the physical changes. 

• Take a look at level 5 studio assessment taking place between 20th -25th January as all of the artists work will be labeled and on show. 

• Select more artists with further variation perhaps a video artist. Use floor space to full capability as it is a large space with plenty of potential.