The Display
- ‘A formation of short and long lines seems to be repeated through all the work which seems to make me think the work is being exploratory with shape’
- ‘The grid formation seems to unite the work’
- ‘I get the impression the work is in a liminal state- its neither GROWING nor DECOMPOSING but is in-between.’ This is an interesting comment for me as I could see liminality being reflective of the state a detainee is held in.
- ‘The work seems very logical and thought through with a huge attention to detail being shown in the work’
- ‘The two pieces on the walls have very strong links were as the mesh and glass force me to question if they’re part of the work. We are unsure to include them or not.’
- ‘The white tiles could be representational of the passage of time/day. The engravings become like sun dials with their shadows being a references.’ I find the relationship between time and being detained is very strong, so to have this interpreted in the work is an unintentional surprise for me. I think the marks could be viewed as engravings marking each day which passes- as seen on the walls of prisoners.
- ‘THE PASSAGE OF TIME AS MANIFEST BY THE SHADOWS’. When your in captivity your very aware of the time passing as your confronted with self and contained within the same 4 walls of a cell or communal space in a detention camp.
- ‘The photographical exploration with exposure seems to draw away from the other pieces. This technique of photography I’ve seen in the past so I feel the white work and mesh with glass is far stronger and more subtle. We are more challenged to find a conceptual meaning behind the work so its holds my attention more’. I think in many ways I held onto the security of presenting my work along side a photographical reference of a window so that the minimal lines could be interpreted. However, I think that I have prevented the viewer for being able to draw their own understanding of the work.
- ‘The photographs are being used as a key to understand the rest of the work and make connections with the broken lines we see repeated in the instillation.’ I think I need to make more carful decisions about what to show a viewer in on space, as all the work informs how we read each individual piece.
- ‘As an artist by including the mesh and glass in the instillation of the work, I am telling the viewer its important and worth looking at even though they can see it in an everyday situation. Therefore I need to question why its important, when I haven’t obviously manipulate and changed the objects.’ I think this bring into question and interesting argument for what can be art. Does the artist need to have an intent or have manipulated an object to call it work and say its worthy to be looked at and pondered over? I think the issue with this paritucal work might stem from the disconnection between the labour of the wall based pieces vs the lack of work involved in the set up of the glass and mesh.