Skip to main content

Drag In The Gallery - Documentation & Reflection


When producing Wall to Wall i got asked by Oliver if i could reproduce my fabric piece for his exhibition Drag in the Gallery. initially as was quite shocked as the overall aspect of Wall to Wall i was happy with however i hadn't received much feed back from it and didn't really think it was something i would be doing again. I started off this piece with a lot more confidence on how i was going to produce it, since my previous fabric piece was an experimentation. I had a better understanding of the material and how to attach it.

This time i had a much shorter time frame of two days for installation so i began drawing up some plans of how it could be draped. With these drawings i presented them to Oliver so he could have the final say on how he wanted it. My drawings initially planned to take over the white wall however Oliver wanted the fabric to be more of a frame for his performances, much like a back drop. With this new knowledge i set about creating a draping 'frame' that would enhance the performances rather than take away for it.

I was much more confident with this piece then the previous Wall to Wall fabric, i was able to work much more efficiently. Creating the drapes came naturally, this time i was able to nail onto the walls to attach the fabric which proved a lot more effective then velcroing the fabric on.

Overall i feel a lot more accomplished with this piece, this could possibly be down me being more confident but could also be that i was for someone and they were pleased with the work i produced. Being able to produce work for someone gives a stronger feeling of accomplishment which i didn't expect, all my work previously has been produced for myself. It is understandable why some artists produce work for clients however i don't think this is something i could do all the time for the simple reason that i produce work for the enjoyment of it and i feel like if i was producing it for someone else it may loose this element.


















Comments

Popular posts from this blog

Teach First Application - LO6 - Evidence

Evidence in LO6 Folder Application Process Sections to the application: ·          Registration ·          Pre-university academics ·          University academics ·          Competency questions ·          Situational judgement test ·          Supporting information ·          Programme preferences Registration Within the registration process I uploaded my basic information allowing them to contact me with possible job opportunities. This information was things such as name, address and contact details. Pre-University academics ·          A Level, As Level & UK equivalent ·          GCSEs, IGSCEs or UK equivalent ·          O-levels, other UK, or non-UK qualifications University academics ·          First degree studied ·          Modules                                         Competency questions Each question below had to be answered in 250 words or less.     Understanding and motivation Wh

Abramovic Case Study - Research & Evaluation

Performance artist Marina Abramovic adopts a territory where both audience and artist coincide throughout the entirety of her performance. Abramovic’s early career commenced during the 1970’s an era where performance art was ridiculed, only fuelling her aspirations to prove critics wrong. Abramovic’s rhythm series, which constitutes of five individual performances from 1973 to 1974, scrutinizes the tensions between abandonment and control. At the forefront of Abramovic’s rhythm series is Rhythm 10 (Abramovic, M. 1973). Rhythm 10 consisted of Abramovic recording herself stabbing between the fingers of her left hand with 10 knives, as fast as she could; changing knives every time she cut herself. When all knives were used Abramovic would rewind the tape and playing it back, she then began re-performing the actions to the rhythm of the tape. Abramovic wilfully or not, subjected her performance to a rhythm over which she had limited control. Abramovic claims each cut manifesting itse

Bishops Art Prize what i am proposing - reflection & critical evaluation

Having not know what i was going to produce for the bishops art prize for most of this unit i am extremely happy with the outcome i have produce. I wanted to carry on developing my practise by exploring different casting styles which is exactly what i have done.  When i first brought the idea to the 3D workshop technicians they dismissed the possibilities of casting an organic form in concrete. Not wanting to fall at the first hurdle i began researching to see if anything like this has been done before with not much luck. After having further discussions with the technicians and drawing up possible options we came up with a process that seemed to be the most logical. At first i present the technicians with rather complicated plants to mould - this was a result of me not knowing the mould making process for silicone moulds and thus had to go back and get some organic material that was a lot easier suited to the casting process. Still not knowing for sure if the mould would work