27.11.21

While writing my dissertation I was talking about show-notes and it made me think of maybe incorporating show-notes into my exhibition as I wanted viewers to know the references but didn't know how to express them in an effective way. I'm thinking of having a double sided A4 piece of paper with a written description on one side (maybe written in three different languages as a nod to the Rosetta stone) and the back being a visual mood-board of historical images from the blog as well as a few others I've been influenced by.

I've also been thinking about my practise setup and how I want to visually strike people. As my palette is quite paired back and muted and I will likely be using exclusively white ceramics I want the surface my work is on to bring the impact. I'm thinking either creating brightly coloured plinths although there is not a lot of process to draw me into it or using my dyed and treated fabric and draping, folding or hanging it for the work to sit be displayed on. Looking at the work of Sam Gillian, Barry Flanagan and Karla Black to inspired how I use the fabric.

Barry Flanagan 'Pile 3 '68' 1968

Barry Flanagan

Barry Flanagan was one of Britain’s most original and inventive artists and a key figure in the development of British and international sculpture. He is best known for the large-scale bronze hare sculptures that he began producing in the early 1980s and that can be seen in many galleries and public spaces around the world. The success of these pieces has tended to obscure the equally important and very different work that characterised his early period. Made from materials as varied as cloth, plaster, sand, hessian and rope, these works highlight a concern with material properties and processes – a concern that is at the heart of his practice.

Barry Flanagan '4 Casb 2', 'Ringl' and 'Rope 1967