Field PDP, Exhibition set-up and colour play

Even before the start of the Field module I had started to plan my summer show exhibition all based on the floor, some in different parts of the building as seen in my sketchbook– following visitors as they move through the building. This changed through my research of visiting certain exhibitions such as Alexander Calder – for his moving and floating forms, coloured shapes in harmony with each other – all connected through the material of metal. Anne Hardy for her sensorial environment full of colour sound, objects. These experiences and ideas of forms, colours, materials and environments were transformed into material experiments in my studio work. Once the scale of my work had increased I moved away from the extra materials into solely ceramic.

The one time I was able to practice the set-up of my work was in the photography studio, the colour play that I experienced within the photography put colours together in the ceramic and the background – red and purple ceramic together with a blue background – the red ceramic and blue background create the purple in the next piece of ceramic. It has very much become about the visual aesthetics of pure colour and overlapping colours – how two separate objects can create new colours to the human eye, along with the blue background being as big a part of the composition as the pieces of work set out over it.

There are hidden colours that you can’t find/see unless you move around the works- move around the works to see the different combinations and new colours that are created by your own sight and imagination rather than whats really there.

Stage 1

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At the start of the week I found it really hard to set out my work whilst the environment around me was constantly transforming with no permanence, I felt I wasn’t able to finalise my work until others had done so to their own space. The space felt messy and cramped, I found it difficult approaching the blue sheet for my works presentation because my work is about movement journey so people would be walking through the work, observing the colours and textures together, rather than having boundaries.

The sheet of paper became crumpled after applying it to the wall with tape – the trouble of plug sockets surrounding the work – distraction.

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Charles and Sarah suggested having the paper landscape so the work can be surrounded by blue. This example led to MDF and a very lucky find of the same coloured paint as the blue sheet.

Stage 2

thumb_IMG_0132_1024 thumb_IMG_0133_1024thumb_IMG_3899_1024 My plan of work with MDF and paper. The use of MDF and paper feels finalised and more professional than using random materials like I had been in my past experimentations of presentations – finding ways to connect the different works. Now the different colours connect up to each other rather than physical materials.

Stage 3

I had help from ingrid with reshaping the composition. The positioning of objects were lost and found in the movements we made around the body of work. lost in another works same colour – found in another objects colour or from the blue background. I had to make sure that there was a start and a finish – a direction for viewers eyes to follow round.


Stage 4

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The presence of my work in the exhibition space is very elusive next to works such as Ross Giles body of work that is very clearly ceramic teapots decomposing as you look further town the table, against my big blocks of mass sculptures with unusual powdery looking surface and striking colours. It is two opposite spectrums of the ceramic ability next to each other.


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Overall it’s very difficult to know whether I’m truly happy with the set-up as there’s no time to reconsider certain decisions, I/We need to accept it and continue building a good quality show. Bearing in mind this is the first time I was able to set out my big scale work other than in the photo studio, therefore I felt comfort in the blue from the photography that’s why I repeated the same actions.



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