Aim
My overall purpose was to exhibit my best work in a professional manner which demonstrated the way that I had explored and experimented with different materials and techniques over my topic area. I also sought to display how both my skills and ideas had moved forward as my practice had progressed over the previous few months.
My intention was not only to create a good display, but also to learn and build up on my own curation skills. This process would involve developing:
- the use of objective criteria in the selection process - quality of line, tone, colour, mood etc.
- the identification of skills to be displayed (techniques of printmaking and painting)
- examples of a variety of materials
- a themed approach to the exhibits
- professional labelling
- the telling of a story
- ways to make the exhibition interesting
- the involvement of the viewer and consideration of their role
Preparation and Display
Following the review of my practice, which I described in my previous post, I took down all my work from the walls in readiness for my exhibition.
Part of the room, including the rear wall was then boarded out to create a smooth surface for the display of work. I then painted the walls white, a clean, neutral colour, to show off the work to its best ability. I also painted the remaining walls white as well to create a harmony across the whole of my display area.
In consultation with my supervisor, I chose my latest paintings to be the main feature as regards my painting practice. I placed them in key positions along the rear wall and added brief descriptions underneath, together with my updated Practice Statement. I chose some earlier tonal studies to display on a nearby table to reflect how my painting practice had distinctly moved forward from my early studies.
I then chose a selection of prints for the rest of the walls, which I considered reflected my best work so far. The prints were intended to demonstrate how hard I had worked to explore and experiment with new skills and ways of working. I made comprehensive summaries of all the different materials and techniques I had tried and printed them out on laminated sheets which I placed alongside.
I used a bookcase to display some early painted studies, printing plates (zinc, aluminium, steel, and Perspex) and some examples of "Chine Colle" (a method of adding colour using tissue paper). This section included a cross section of working methods over a wide range of techniques.
On my desk I placed other miscellaneous work, including black and white and coloured screen prints (photographic, mixed media and "True Grain") to act as a "browser". Also on the desk I placed two files which comprised hard copies of my collection of research into artists etc. and the site itself (including research on climate change and its recent effects on the landscape).
In March the Hull Print Collective had an exhibition of its work in the foyer of the HSAD building and I had exhibited two framed prints. I put these two works (dry point etchings of an old anchor and rose hips which relate to the site) out on show.
Finally to add authenticity and atmosphere for the viewer, I gathered some items which relate to the site to finish the display off. In January, I had gathered dried grasses, rushes, thistles and seed heads to assist me with my observational painting and drawing. I arranged these in a bowl and placed them in a corner next to the paintings. I also found some old mooring ropes ( at home because my husband used to sail) which I hung up next to my prints of old ropes and driftwood. I had also, over a period of time, collected some driftwood, old tiles, stones, feathers, tree bark, bits of chain, piece of metal fence and a catch which I organised into an interesting display.
Outcome
Please see below photographs of the finished exhibition of works.
Curation
I have learned a lot from putting together the exhibition and the curation of my own work, which I summarise as follows:
- the need to think beforehand as to what I am trying to achieve
- a logical approach to tell a story
- the identification of best works using objective criteria
- the selection to include a variety of working methods
- different ways I could demonstrate the above
- the consideration of ways to show less successful works and experiments to show development
- how I could demonstrate my research (practical and academic) in a succinct, visual format
- the preparation of the display space, smooth walls, clean, neutral background colour
- the drafting of wording for key elements - Practice Statement, Concepts and Research
- production of labels, and professional finish (laminated)
- how additional elements (grasses and artefacts from site) can add authenticity and atmosphere
Conclusions
When the assessors and visitors came to see my exhibition the feedback was encouraging. I felt that they appreciated how my work had moved on in a number of ways through continued experimentation, research and development. They also seemed to appreciate how I had curated the display.
There was a clear indication, through consideration of the exhibits and a discussion, as to how I can move my painting and printmaking practice forward.
My paintings can go bigger and I can try different canvases. My print making can progress with further selective use of processes and colour. I feel that I have successful created a synergy between my research into artists and my practical work (including practitioners such as Michael Raedecker).
My work is now coming together and I feel that I have made a break through where each part of my practice influences the other. It is a good base from which I can move forward over the next few months.
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