Individual Work Displayed

As a group we had decided that on install day we would establish where the individual pieces of artwork should be displayed, as it was difficult to plan the island of plinths beforehand. Within the exhibition it was key that each piece of work was shown to its best potential and therefore it needs to be displayed on full view to ensure that people visiting the exhibition can fully view each piece of artwork.

Individual Art Work

Riba Begum 

 
These are the three final pieces we decided to use from this artists collection. As a collective we felt these best linked to our theme of ethereal because of the fluid background and highlights of white, and also linked to other pieces of work used within the exhibition. These pieces were lent against the plinths and floor based which involved the viewers leaning down to view the details. These pieces were, in relation to the other work we used very realistic and figurative, however personally I think that worked to an advantage as our exhibition then explored a variety of art. They also link well to the silver point portraits because of the pictorial language and the delicate text linked to the glass slippers. As the island of plinths were completely white, these pieces possessed a much needed contrast which is given through the dark and somber colours used within these artworks.

 

Sam Ellis

 

We used all of Sam Ellis' glue gun flowers within our exhibition which totaled 15 individual pieces. As the flowers were covered with powdered paint we had to ensure they did not touch any other pieces of artwork as they could leave permanent marks. We scattered the flowers around the exhibition but all in the same general area. These flowers were distributed considering the various sizes on the angled plinth and secured using a small amount of white tack. They were also placed around other pieces of artwork that they had strong links to such as Becky Hadfields small acetate cones because of the colours and the size of both of the pieces of artwork. These beautiful flowers lead the viewer around the exhibition, and acts as a visual aid in attracting the eye.

Becky Hadfield

The above two images depict the curation of Becky Hadfields work. During the process of the installation Becky visited the space to see how the exhibition was developing. Becky played a part in curating her pieces of work by giving us tips as to how she normally displays the piece for assessment , for example layering the cones inside one another depending on colours. She also informed us that the rectangle pieces were actually made to match the size of the floorboards and so asked if we were happy to place a few on the floor surrounding the plinths. We were happy to do this as long as they posed no health and safety risk. We did place the pieces in relation to Sam Ellis' work (shown above) as there is a strong link between them through colours and size. 

Ilona Kazakevica  

 


Unfortunately in a complete accident one of Ilonas silver point portraits was damaged as the plinths tumbled  and fell onto the piece. As Faith had Ilonas contact number she offered to ring the artist to tell her of the incident on behalf of the group, however Ilona was still happy to let us use the three remaining drawings within the exhibition. We will set up a meeting in the near future with the artist in order to apologize and offer and supplementary funds that may be needed to repair the piece.  Subsequently after this incident we were all very wary in handling Ilona work as we were now aware of how fragile and delicate the pieces are. Considering this we decided to use the easel for the one portrait that we had settled with for the exhibition. The other pieces of work were carefully taken back to the artists space in her studio. The portrait worked perfectly in relation to our theme and the other pieces of artwork because of the delicate nature of the drawings and also the figurative link to the Magpie paintings.

 

 

 

 

 

 

Jack Marder

 During the installation Jack played an active part in curating his own pieces. The artist was keen to get involved and make suggestions as to how we could display his work to its best potential.  The first step however was for Julia, Liz and I to select the work we wanted to use within the exhibition and all of the work was on display in the studio. There were mainly two sets of colours used in the pieces a blue maroon or the deep purple that we decided to use, due to the fact that we used them as a background image for advertisement purposes and also because they link to the purple organza we have used in the material structure. We were keen to use one piece as floor based, however as the island of plinths resulted in lack of open floor space, I suggested laying the piece on top of the plinths which has the same effect and allows the viewer to look down on the artwork to view it in detail. Jack placed the other two pieces positioned on the plinth and floor, piled on a mound of salt which was actually ours from the last project which reflects the journey it has been on. He also added the stones as the source of inspiration to the installation some over the light box which created a beautiful light source and added to the ethereal quality. The stunning paintings for me optimize the theme of ethereal because of the fluidity and sublime quality they advocate. I think they beautifully link as a painted surface to Lucy Ormes white waxwork sculpture due to the natural formed shapes created within the paintings.  

Sukhjinder Nahal

 After the unfortunate plinth incident we were all very cautious with the pieces of artwork in particular the delicate ones such as this threaded cube by artist Sukhjinder Nahal. We as a group had collated our individual ideas of how we should display this piece and I think our favoured idea was to hang the cube from the ceiling. However on the day this seemed unattainable as we did not feel confident that the fishing wire would be strong enough to hold the cube safely and securely. Another downside to this idea would be that the bottom of the cube is in fact not threaded and so there would be a large section of negative space visible to the viewer which personally I think would look aesthetically displeasing. As this was the largest piece within the exhibition we decided to leave an empty section for the cube and placed this in the space and then the plinths around it, which enabled us to experiment with the positioning of the cube and find the location in which it would look most effective. Initially we laid the piece flat to the ground after the incident but then decided it was secure enough to have the piece angled on the lightbox plinth. From the very beginning I have always wanted to use a light under the cube in order to create shadows and play with the use of light in the exhibition. I think the use of the light box which disguises the light works beautifully it creates an celestial effect. 

Lucy Orme

We had already decided to keep Lucy Ormes waxwork sculpture nick named the 'Iceberg' on a plinth as it is too delicate to risk moving the sculpture and placing it in a more unorthodox position. The plinth was positioned in the centre of the island of plinths yet became a central focus point due to the beam of light from the spot lights which seems to reflect the intricate details found on the piece. This can be seen from the blurred picture above. This sculpture is the epitome of ethereal for me, the divine, otherworldy and beautiful design through the crystallized growths are stunning and it is the perfect piece for the exhibition . It also links wonderfully to the silverpoint portraits because of the delicacy both of the pieces personify and the ethereal quality that they seem to attribute to the exhibition.

Becky Price

We chose to use three of Becky Prices shoes all displayed using very different techniques. The wax shoes to the right were displayed on a light box which lights up the shoes from underneath which creates a exquisite effect. I think the most aesthetically pleasing piece was the shoes that were hung on the stool. This unorthodox way of displaying is very visually exciting and draws the viewer in to take a closer look. We were keen to make sure the shoes were stable and safe hanging upon the stool in order to ensure there was no damage to the piece. The last pair of shoes that were displayed were the original ones that we found for the exhibition. We left these in the shoe box as part of the installation placed on a tall plinth. These particular artworks worked really well within the exhibition as they linked to our ethereal theme because of the delicate quality, and the fantasy connotations. These pieces also link well to other artwork used within the exhibition such as Lucy Ormes waxwork sculpture because of the colour and also the material that both of the pieces have been made with.

Kerris Stirling

As there were a number of Kerris' piece we originally distributed the various pieces all over the plinths in order to link the exhibition together. However the artist Kerris Stirling came to visit during the installation and as she had an assessment the following day she asked that we keep all her work congregated in one area. Therefore we rearranged the pieces, the majority of these were placed in a cluster on top of the stall plinth, whilst the other pieces were dispersed on the lower plinth within the same area. I think the scattered display of these pieces echo the disjointed nature of these delicate growths. We also placed these small pieces in relation to other work that they could link to i.e Sam Ellis' flowers because of the small size, natural forms and vivid colours. The small pieces of work are used throughout the exhibition from every angle ans they act as a link between the different art works and also as a tool to lead the viewers eye around this 'island' of plinths.

 

Polly Willets

 


We had a lot of Polly Willets work to choose from as they were all arranged in her studio space. As we had a limited area of space we picked a total of 12 pieces varying in size and style. Originally we were unsure of how to display the work, one idea was to distribute the pieces over the plinths but as some of the pieces were so small we were worried they would easily get lost. Therefore we decided on displaying them on a tall plinth in the same style of Polly Willets. The composition of this display leads the viewers eye around the work this is because the juxtaposition of the larger pieces against the smaller ones. The dark quality of these pieces provide mysterious, enigmatic connotations which link to a darker side of ethereal much like Riba Begums figurative magpie paintings.