Creating my own Exhibition( 3): Corona Virus "Lockdown", Change of Plans and Prototype

Creating my own Exhibition( 3): Corona Virus "Lockdown", Change of Plans and Prototype

Introduction

When "lockdown" was introduced in March, 2020 and continued into May, it became increasingly apparent that, unfortunately, I would not be able to go ahead with my planned exhibition at The Deep.

I had then to think about what I could do instead.

A lot of Galleries, Museums and artists had already begun to put exhibitions online.

I decided to explore "virtual" exhibitions with a view to creating my own version.

Early explorations and prototype

I am a member of the Hull Print Collective and regularly exhibit with them at various venues. This year we were to hold a Spring Exhibition and I had produced two prints for the exhibition:

On the Bridge, relief print from etching

 Docklands, monoprint

The Spring Exhibition was cancelled and so we explored other avenues. This resulted in the production of the following virtual exhibition:

    https://youtu.be/ggE-kn0tAh4

I approached the person who created the video and had a number of discussions with him. He produced the following "prototype" for me, following the format he had used for the Hull Print Collective:

  https://www.dropbox.com/s/ll44k9df54mo1gv/TaylorMaggie_1.mp4?dl=0

He could not give me much time, due to other commitments and health issues, but we discussed a number of issues to consider if I were to proceed with producing my own virtual exhibition. These matters included:

- A possible time-line approach, mixing prints & paintings to demonstrate how I "have grown and developed".

- How long I would need each work to be visible on screen.

 - How many words to have alongside each work (limited space).

    

- Whether  to include a zoom, from a detailed view, to a complete view, or the other way round.

- Commentary or music, or neither.

Conclusions

After seeing the videos and having had the discussions, I felt that there was a lot more that I could explore regarding viewer engagement and decided to do further research.

    

Creating my own Exhibition (2): Early Ideas and Visits

Creating my own Exhibition (2): Early Ideas and Visit to The Deep

Possible Venue: The Observatory, the Deep, Hull

Introduction

In January, following the  review set out in my previous blog entry, I started to consider the criteria for a successful show and how to realise my ambitions.

This was a two-stage process involving decisions about what I was wanting to achieve and then finding a location which could deliver on those goals.

Key Aims of my Exhibition

I had identified key aspects during my show held in May, 2019. I therefore built on those foundations and decided that I would now concentrate on the following main elements:

- A themed approach to the exhibition consistent with my Practice Statement
- The involvement of the viewer and consideration of their role
- The telling of my story, and how I have developed my practice
- My research into artists/movements and how these have inspired me and impacted on my practice
- Ways to make the exhibition interesting
- The use of objective criteria to select my best work e.g. quality of line, tone, colour, mood etc.
- Professional hanging of exhibits and labelling

Other considerations included the quality of possible venues as regards space, light and hanging facilities. Cost was also a consideration and I considered sponsorship and holding a joint exhibition with another artist.

Progressing my aims and site visits

At an early stage I had a discussion with a fellow artist about the possibility of a joint exhibition. She was not keen to do this as she did not think that our work had much in common. This is true, but I do think that similarity is not necessarily a valid criteria. If people are interested in art they are usually open to different experiences and appreciative of what the artist is trying to achieve. Joint exhibitions can also draw in larger number of visitors. Anyway, I then started to make my own enquiries. I was hopeful that I could get some sponsorship from local businesses for the costs involved.

I considered possible venues for the exhibition and rang round a variety of locations. Some were more helpful than others and I made a short list:

- The Deep, Hull
- The Ropewalk, Barton

- The History Centre, Hull

- The Central Library, Hull

- The Broderick Gallery, Hull College

The Observatory, The Deep, Hull

The Observatory at The Deep came at the top of the list, due to the space available, the view, and the relevance to the theme of my exhibition.

The Admin and Event Coordinator was very helpful on the phone and I arranged to meet him, with the Head of Business and Corporate Flexible Space, at the beginning of February. We had a brief discussion about my requirements and they looked at my work. They said that they could offer me the Observatory, which is a fantastic space over-looking the point where the River Hull meets the Humber Estuary. That would be for an evening event, and then the exhibition could move into Sealab 3, adjacent to the Reception area for general viewing. They offered to advertise the event in the Deep's publicity material.

We then discussed dates and I found that Thursday, 3 September, 2020 was available. This date was at the beginning of Hull's Freedom Festival and at a time when many people would be wandering around in the vicinity. They went off to work out the costs and would then come back to me.

I received the quotation towards the middle of March. However, by this time the Corona Virus Pandemic was starting to take hold. It became increasingly obvious that these plans would not come to fruition.

Conclusions

My efforts to organise the exhibition was not wasted time. I have made contacts at the Deep and can revisit this as an option for a future year.

The Ropewalk, Barton is still very much a possibility for a future exhibition and has excellent facilities. There is a two year waiting list, but I am thinking of putting an application in. The location also works well, being next to the Humber.

The other venues would also be good, but the locations are not specifically relevant to my theme. 

When "lockdown" was introduced I gradually realised that I would have to change my plans. 

Creating my own Exhibition (1): Background and Starting Point

Creating my own Exhibition (1): Background and Starting Point

Introduction

"Me",  Open Exhibition, Ferens Art Gallery (my artwork "Hide" bottom right)

Over the previous eighteen months I have been developing my practice with a view to producing an exhibition of my work in August this year.

I  initially built up my knowledge and skills in preparation for creating a successful exhibition in four key areas:

- continuing to compete and exhibit in local and regional galleries as part of large-scale exhibitions

- visiting regional and national exhibitions and galleries

- interviewing practising visual artists and curators

- holding an exhibition/small show of my works at Hull College (May, 2019) and at a Symposium (January, 2020)

This was the starting point for my early ideas, discussions and visits in preparation for the Exhibition.

Participation in Local and Regional Exhibitions

Over the previous few months I have been successful in having my work selected for some local and regional exhibitions.

I showed some of my work at the Hull Fishing Heritage Exhibition (see blog entry 23 July, 2019).

The North Lincolnshire Open Exhibition, the Ropewalk, Barton was more competitive, and a larger, regional exhibition in an Art Space sponsored by the Arts Council (see blog entry 15 July, 2020).

The exhibitions at Nunnington Hall and Burton Constable Hall were in "stately homes" and formed part of their Christmas 2019 functions (see blog entry 10 November, 2019).

At the beginning of 2020 I was successful in having work chosen for both the Beverley and Ferens Open Exhibitions.

Beverley Art Gallery

"Horkstow Bridge" (bottom right), Beverley Art Gallery

Ferens Art Gallery

Visitor looking at "Hide", Ferens Art Gallery (bottom centre) 

What I learned

I went to the opening of the exhibitions. My purpose was to research the curation of different types of exhibitions and how curators can approach their topic. This may vary from the way a gallery is set out, to the concept behind the approach. My purpose is to gain insight into how I may improve the curation of my own work.

For example, at the Ropewalk my prints were on display in the Art Space, which is the larger of the two galleries. The  prints were included in a span of other monochrome works, which the curators had picked out as complementary. Some of the other prints alongside my own were lino cuts and screen prints. They were displayed in a minimalist style where they were shown to maximum effect in a single row on a plain white background. There was no over crowding or mixing of styles or colour, which was very effective.

On the other hand, my third work was included in a run of prints of landscapes and other topics, some of which were in colour. Mine was placed above another landscape which complemented my theme. Some of the prints on this wall of the gallery were in bright colours, which gave variety. I was interested in the use of colour and in the way they were displayed.

  

Visits to Exhibitions and Galleries

Over the previous twelve months I have visited the following exhibitions and galleries and followed up my visits with entries in my blog:

"Brantwood", Cumbria (see blog entry 22 June, 2019)

York Art Gallery, "Ruskin, Turner and the Storm Cloud" (see blog entry 27 June, 2019)

Hull University Art Gallery (see blog entry 22 July, 2019)

Huddersfield Art Gallery, Mandy Payne "Out of Time" (see blog entry 18 October, 2019)

Print Makers' Council Exhbition,  "Land, Sea and Sky" (see blog entry 5 November, 2019

What I learned

When I visited the exhibitions I considered how the works had been curated. For instance York Art Gallery looked at themes which ran through the works. In addition, artist Emma Stibbon RA had been commissioned to create a response to the environmental concerns raised by Ruskin. This part of the exhibition was a good example of how we can learn from previous artists, build on their themes and make them relevant in today's society.

When I visited the Hull University Art Collection I was fortunate in being able to meet  the director, John Bernasconi. He explained the layout of the galleries and the thinking behind the scheme. The paintings are hung mainly in chronological order, but with areas covering particular schools or key themes. To illustrate the importance of curation, he told me how he gave an important, highly original work by Sir Stanley Spencer prominence, by hanging it in the middle of the wall at the end of  the run of galleries to each side.

During this process I was able to build up further insights into curation and the holding of an exhibition.

Interviews and Discussions with Practising Artists and Curators

In August last year I had a very informative interview with contemporary artist Mandy Payne who specialises in the Brutalist architecture of a housing estate in Sheffield. She uses her work to make political and social comments (see blog entry 23 August, 2019).

Following my interview, she invited me to the opening of her Exhibition "Out of Time" at the Huddersfield Art Gallery. I was also able to speak with Mandy again at this event (see blog entry 18 October, 2019).

I also interviewed Richard Hatfield, artist and curator at the Ropewalk, Barton. We had a wide ranging discussion where Richard compared curating an exhibition for a single artist which would be very focussed, with a  more general, open event (see blog entry 25 July, 2019).

What I learned

Mandy's paintings on concrete were set within a wooden frame, whilst others were hung without any frame. The unframed concrete made more of an impact as the materiality of the substance was clearly in view. The gallery was well lit and the paintings hung spaciously. The glass cabinet was a good way of exhibiting the prints and viewers were engaged and enthused by the  interaction with Mandy and those present.

I learned a lot about curation from my interview with Richard, which I can use in my own practice.  I can build on his insights into grouping works with subtle connections. The ideas about getting a good "mix" and blending in the colours will also be useful, as will the fact that it is a good idea to deal with more individual works first. It was interesting to learn how to display works and invoke the attention of the viewer in subtle ways, so that they are not necessarily aware of the time and effort which has gone into the thinking behind setting up and hanging an exhibition or show.

My own Exhibition/Small Show






Small Exhibition, Studio, May, 2019

I held a small exhibition of my own work in my studio at Hull College in May last year (see blog entry 8 June, 2019).

What I learned

At the time I summarised what I had learned and concluded that:

"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." (June, 2019)

Conclusions and Next Steps

Throughout the previous twelve months I have been concentrating on achieving the goals I set out above.

Since January, 2020 I have produced six large scale (three feet by four feet) oil paintings on the theme of the River Hull. I have also produced a set of prints on the same subject and used a combination of printing techniques and introduced colour. I have continued to integrate the concepts set out in my Practice Statement and created synergy with the artists who inspire me.

My aim now is to achieve a successful exhibition of my practice by working up the ideas I have outlined above

Printmaking: "The Buoy Shed" Prints

Printmaking: "The Buoy Shed" Prints

The Buoy Shed, watercolour monoprint overprinted with a dry point etching

Introduction

In an earlier post (18/05/20) I wrote about a group of warehouses along the River Hull which had inspired me to paint  large image of a section of the riverfront.

The architecture, which includes a number of intriguing doorways and elaborate decoration, sparked my imagination. Part of the group includes the old Trinity House Buoy Shed.  I decided that the Buoy Shed stood out as a unique, historic building which warranted its own image. I wanted to capture the essence of its former glory and thought that a print would enable me to capture the glamour of a distant age where expensive, flamboyant building styles and materials were used for fairly mundane buildings.

Trinity House Coat of Arms, facade, of "The Buoy Shed"

As I said in my earlier post, a coat of arms stands over one doorway and depicts an anchor (for a safe anchorage), three stars  (representing the Trinity) a helm with the Admiralty Oar ( representing nautical justice). The Latin motto "Spes Super Sydera)means 'Hope beyond the stars'. The building served as a buoy shed for Hull Trinity House, an ancient institution that from the mid-15th century was responsible for navigation buoys and lights on the Humber Estuary. It has more recently been a workshop for  a Northern Divers. The wooden staging posts below are still used for the tying up of vessels. At low tide the wooden posts are revealed along with the interesting shapes of the mud left behind by the receding tide.

Process

Dry Point Etching

I have seen the Buoy Shed in different weather conditions and lights. Earlier in the year, I went for a walk in January, when the weather was cold and dark. That was when I was first struck by the building's intriguing and impressive architecture. How could such an iconic building be left abandoned to the elements and the threat of vandals? I was moved to capture its commanding presence, and convey its faded, commanding glory.

I decided that a dark dry point etching would convey the mood. The process means that the ink picks up the burrs left by the etching tool and leaves behind a distinctive and characterful line. The technique also allows the printmaker to leave tone behind on the etching plate by the way the ink is wiped. This is the approach I took for my first set of prints (see below).

The Buoy Shed,  dry point etching

Water colour Monoprint, overprinted with dry point etching

I then went on to create a second type of image. During "lockdown" we had a period of hot, sunny weather. One of those days was the Bank Holiday for VE Day. It was weird, as everyone was still under strict lockdown rules, but you were allowed to travel a short distance in your vicinity for exercise. I decided to go for a walk along the River. For a Bank Holiday, it was very quiet and there was a strange atmosphere. The sun beamed down on the Old Buoy Shed which, probably due to the VE commemorations, gave rise to feelings of nostalgia. Consequently, I decided to capture that mood in a second, different, coloured print. 

The Buoy Shed, watercolour monoprint overprinted with a dry point etching

I made a watercolour monoprint of the same view (see above and top of page) and then over-printed it with a dry point etching. This is the third time I have recently used this process. It is a good way to add colour and atmosphere to a print. It is, however, a long, two-stage process. I have got better at it. I now ink up the dry point plate before making the watercolour monoprint. This is because to make the monoprint you have to use wet paper. By having the dry point already prepared it means that I do not have to re-wet the monoprint, and I can go straight to the over-printing process. I am also getting more accustomed to applying the watercolour to the perspex plate in a way which obtains the best results. I wanted this image to be subtle, to give a faded,  "olde worlde"  look. I therefore applied the paint quite thinly to achieve this effect.

Conclusions

Each print is very different. I think that I used the techniques in a way which successfully brings out the  qualities of both the winter and spring weather conditions, and the emotions which the sight elicited in me. I am also improving my technical skills in the two-stage monoprint/dry point process.

Printmaking: "Plight" Prints

Printmaking: "Plight" Prints

 Plight”, drypoint etching and drypoint etching overprinted onto water colour monoprint:

Truelove Sculpture,  River Hull, Kingston Upon Hull:

Sculpture by Stefan Gec (2002).

Introduction

On my walks along the River Hull, I came across a fascinating piece of sculpture set amongst the wooden posts of the old harbour, near the Tidal Barrier.

Two heads sit on a round plinth surrounded by curved fans of steel rods. The scene intrigued me and I researched the background to the sculpture and then made my own interpretation of the scene in some prints. My aim was to capture the pathos of the scene with a sensitive approach to the subject matter.

Background

The plaque reads: "In 1847 Memiadluk (aged 17) and Uckaluk (aged 15) arrived in Hull close to this site aboard the Truelove, a local whaling ship. The following year the married couple set sail for their home in Cumberland Sound, Baffin Island. During this journey Uckaluk died following an outbreak of measles on board the ship."

The sculpture illustrates Hull’s connections with people across the seas. Truelove displays the heads of eskimo (Inuit) couple Memiadluk and Uckaluk. When the two were brought to Hull on the whaling ship, Truelove, they were then exhibited here in native costume and with canoes. In the spring of 1849, Memiadluk and Uckaluk began their return journey home, then Uckaluk contracted measles, and died shortly afterwards. She was fifteen years old.

The heads are copies of casts which are on display in the Maritime Museum along with posters of their “visit”.

The installation is sited at the mouth of the Hull where the old harbour was and where many whaling ships including the Truelove would have landed.

Process

Plight”, drypoint etching

I followed the same process as in my previous blog entry which illustrated the "Looking Out" prints. However, due to the nature of the subject matter, I was able to use more of a variety of techniques and etching tools. The wooden posts had many textural qualities which I wanted to depict. To enhance the rugged and aged qualities of the posts I used an etching tool with a row of forked points, I also followed the natural splits in the wood, especially at the top of the posts. The barrel-shaped plinth is made of metal, and I used a new tool for the first time, which was very effective in producing marks which replicated the material and tonal qualities of the "drum" shape.

I printed a small edition in Charbonnel Carbon Black printing ink on Fabriano Rosapina cream paper (see above).

I then made a water colour monoprint which I hand printed using a spoon onto Fabriano Unica white paper. While the paper was still damp, I then over printed the drypoint etching, using Charbonnel Carbon Black printing ink.

I chose subtle colours for the monoprint as I did not want a bright, harsh result, which would not have been in keeping with the sadness of the narrative. I also applied the colour onto the perspex plate quite thinly and sensitively. It produced a soft result which was what I was looking for.

Conclusions

The sculpture really inspired me, and I hope that my prints do justice to the concept behind the original piece of art. The textures of the old wood worked well, using a variety of tools and techniques. I managed to capture the tonal qualities and the choice of colours and their application was good, in that they are subtle, and suit the pathos of the story.

Printmaking: "Looking Out" Prints

Printmaking: "Looking Out" Prints

  “Looking Out”, drypoint etching and drypoint etching overprinted onto water colour monoprint:

Hull’s Voyage Statue set against the backdrop of The Deep, Kingston Upon Hull.

Introduction

Hull's Voyage statue depicts a human figure stood on a plinth, staring out across the Humber Estuary. From Iceland, a sister statue, made by the same artist, Steinunn Thorarinsdottir, looks across the North Atlantic towards its Hull counterpart, in a small, village called Vik. In days gone by, it was here that many Yorkshire trawlermen were rescued and given food and shelter when their vessels ran aground. The pair of sculptures commemorate centuries of sea-trading and fishing relations between the two regions.

My aim was to capture the concept of the figure leaning forwards and looking towards a distant land, Iceland, across rough and dangerous seas where so many local people travelled, seeking fertile fishing grounds.

Set against the history of this human endeavour is the modern, iconic, man-made structure of the Deep, the huge aquarium which houses over 3000 creatures, including sharks and sawfish.

Process

I made a perspex printing plate by scratching into the surface. I used a ruler for some of the straight lines of the Deep, as its linear appearance is part of its appeal. However, for the figure, I drew in freehand with my printing tool to get free flowing natural lines. Similarly, I drew freely for the plinth as it is made of a natural, granite-type of material, and has textured sides.

Initially, I produced a small series of drypoint etchings, using Charbonnel printing ink in Carbon Black printed onto Fabriano Rosapina cream printing paper.

“Looking Out”, drypoint etching 

I then went on to create a water colour monoprint which I used to overprint with the etching (illustrated at the top of the page). When I made the monoprint I carefully painted around the shape of the figure so that when printed, the figure would stand out like a silhouette against the coloured backdrop. (The monoprint, which was hand printed using a roller, was printed onto Fabriano Unica, white, as it is a less heavy paper for the hand printing process).

Conclusions

The angular structure and pattern of the tiles of the Deep contrast well with the natural, simple, form of the figure, which is emphasised further when colour is added. The print has a strong composition and the high skyline works well.

Painting: Beyond the Wall: Wilberforce House Gardens

Painting: Beyond the Wall: Wilberforce House Gardens

 

Beyond the Wall: Wilberforce House Gardens (final painting)

 

Introduction

 

Many of my paintings connected with the River Hull have structures as their main feature. This time, I decided to concentrate on a pocket of natural beauty within the gardens of Wilberforce House. William Wilberforce lived in the house (now a museum) which backs up onto the walkway which borders the River Hull. It is a small walled garden, compact, but full of history and charm. The garden is separated from the river front by a brick wall with arched windows allowing passers by to peep inside.

I wanted to capture the hard shapes of the concrete paving stones, wall and wooden bench, and contrast them with the natural, softer forms made by the tree and wisteria branches winding over the arch. The winter scene enabled me to play with the negative shapes formed between the twisting lines of branches. Light shone on the distant tree, the foreground was in shadow. The composition created interesting layers of subject matter.

Process

At the time of starting this painting, the UK was still in "lockdown" due to the Corona Virus pandemic. I wanted to paint a further large image using a canvas measuring 3 feet by 4 feet. Despite searching online for this sized canvas, I could not get hold of one. I knew that I had previously created a painting on this scale some years ago and thought about painting over the top of it. I had got this idea from an artist I spoke to last year, who always re-used his old canvases. He felt that the process added character to the finished result.

I got out the old canvas and mixed a mid-grey shade which I applied to the whole of the canvas. I sketched out an outline of the composition.

 

Early stage of composition

 

One of the problems I met was that the previous painting seemed to have left a residue behind which made it harder for the paint to adhere to. Also, the paint had been applied quite thickly in places and the ridges of the previous paint showed up on the blank parts of the canvas. I decided that I had no option but to carry on regardless.

 

I continued to add detail to each part of the image, thinking all the time however, about the effect on the whole scene, the light and shadows and colour palette.

 

 

(detail)

 

 

(detail)

 

 

(detail)

 

 

(detail - showing textured lines left behind from previous painting)

Summary

I think that the final painting has a lot of character. Despite using an old canvas, the textured layer beneath seemed to add to the atmosphere of the painting as a whole.

I achieved my aim of concentrating on the natural forms as a focal point, whilst also emphasising the straight lines and man-made objects. The composition meant that I could really expose the negative shapes between the branches of the tree and climbing wisteria.

I hope that the viewer has a sense of "looking through" onto the "hidden" garden and takes in some of the atmosphere created.