When displaying my work for my Crit, I had planned to put up these 2 wall based pieces. I had started my exploration into photographic manipulation – removing information initially by playing with the exposure. This then moved towards the white tiled work which I felt was more subtle. I decided to hang both in conjunction, initially to compare them and then later decided the aesthetic worked well. I also wanted to create a reference to the original image which had sparked my use of a repeated window symbol throughout my work. I felt that if I were to have put my white tiled work up in isolation the weight of the engraved symbol could have been completely overlooked.
However, I decided to bring in my ‘black lines’ work into the studio to photograph it. As I placed it it situ I started to visually embed the piece within the context of the wall based pieces. They started to relate to each other, playing with the same shapes and a monochromatic theme ran through the three piece. The materials I had surrounded myself with in the studio I started to draw into the space, lining a glass panel next to my black line barred painting. This action was very spontaneous but the work seemed somewhat incomplete and almost sat as an ‘add on’. Adding some mesh I had found in the skip as a layer over the glass referenced the ‘barred’ experience of being detained.
The work started to reference a very different way of working which was spontaneous and took very little time. This was a wildly different approach to working which conflicted with my intended aim for the crit presentation. I had aimed for my wall based work to be emphasis the time which I had taken to produce it, the labour being a conceptual core to the piece’s success. However, by introducing these two found elements which had very little/ no alteration, I had somewhat thrown off the cohesive reading of what is now an instillation piece.
I felt these spontaneous additions to my display relate loosely to the Arte Povera Movement which explored everyday materials, and presented these in the context of a gallery to challenge the traditional understanding of art materials.