http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 University of Brighton Thu, 23 May 2013 17:36:09 +0000 a-n rss generator a-n The Artists Information Company and contributors edit@a-n.co.uk technical@a-n.co.uk http://www.a-n.co.uk/img/logo.gif http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Last term for our interim presentations I experimented with installation.  Blind Room was the result.  At the time I had been looking a lot at the control of the artist over the spectator with works that require a more active role from the spectator.  This is what I wrote my dissertation about. The interior of Blind Room was completely devoid of light rendering sight useless within the space.  This means that the audience must rely upon their sense of touch to guide them as they grope around the space.  The lack of any light means that the atmosphere of the space instantly becomes ominous and removes the audience from a comfortable situation.  Structures built within the space cause it to be harder to navigate and find your way around.  There is no way to regain your sense of sight within the space, you must leave the space to be able to see again.  There is a growing desire to leave the space, the longer you are in it, and difficulty finding your way out increases this desire.  When you have left the space it is a relief though the harshness of the light from the studio is dazzling. Inside Blind Room on the second day.  Bits of light began to appear as the cardboard came away from the windows.  The brighter weather also meant the light that came through was stronger than the day before.  It was still dark enough within the room that when facing away from the source of light you could not see anything. I have since moved away from creating installations and as mentioned in my blog intro, have begun to look at the nature of the gallery space.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 That people are willing to become participants to installations such as Blind Room, that are disorientating and create feelings of panic or fear, shows the power of the gallery space on the actions of the spectator.  Would you, for example, go in to a pitch black room if someone asked you to anywhere other than a gallery?  If someone on the street said, hey come and have a look in this room where you can’t see anything, you probably wouldn’t go in.  Maybe that’s a slightly unfair way to put it, but you would perhaps be less likely to do something like that in a public space than in a gallery space.  Is this because you go to a gallery expecting to be asked to do things that evoke certain emotions, and it is after all in a gallery so it must be safe.                 There is a type of social-cultural contract within a gallery, within most spaces, that tells us how we must act.  Martin Creed’s piece at the Tate Britain with runners sprinting up and down the main hallway, showed something of how we expect people to act within a gallery.                  I am still trying to decide where to go next with my art practice.  I like the idea of challenging our notions of what could go on in a gallery space but I think that this moves away from what I want to concentrate on more; the spectator as a medium for making art. Edit- 28/2/12 After writing this I worked on some ideas for a maze installation within our studios.  I never wrote an entry about it as ideas about gallery space took over and I never actually made the installation.  What I did make were models of what I would've made.  The maze would have had arrows on the walls, with the idea that those entering would follow the arrows without realising that they led them in a circle.  I was also planning on using changing lighting to disorientate the visitor and make it harder to tell that they had been in the space already.  Pictured is the model that I would've created in life-size had other things not taken over.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 I keep another blog through tumblr which up until now has been about the issues I have faced with my practice and what I am doing leading up to our degree show.  I find blog writing a really useful way to sort through ideas in my head and articulate what I am trying to do. My next couple of entries on here, as well as the two previous entries are intended to get this blog up-to-date with my tumblr blog.  I will then keep them fairly similar, though with more emphasis on issues relating to our degree show on here. Talking of degree shows, we have yet to have a proper meeting about ours, hopefully they will start next week!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Inside the gallery we are comfortable to put ourselves in situations that we might otherwise avoid.  If we were approached in the street to go and see someone’s apartment or a space some had made would we do it?  The minute the word ‘art’ is attached to something it feels safer, more legitimate, never more so than within the walls of a gallery. Why is it that we feel safer within the environment of the gallery, why are we more likely to take part in something within such a space?  There is an assumption that we will come to no harm inside an institution where there are health and safety rules to be met.  But what if the situation is not as safe as first thought?  Or what if something appears to go wrong? I have begun considering the nature of the gallery space in my work since these ideas arose from my installation Blind Room.  My next few blog entries shall look into various ideas relating to the gallery space and the spectator within these spaces.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 This is something I wrote for a project we have been set at university in preparation for our degree show.  The project was to create three proposals based on our current practice but without considering money, time or space constraints.  This is the first of my proposals: Maps show us the way.  Maps in galleries show us the directions to a piece of work, a particular room in the gallery or in which order we are encouraged to view the work.  The later is more common in exhibitions of specific artists, such as the map pictured to the right showing the recent exhibition of Pipilotti Rist’s work at the Hayward gallery. The gallery, according to Pontus Hultèn, is a space to be traversed.  There is a tradition of the gallery as a place to stroll and become immersed in the work that the gallery map contradicts.  I would change this by placing my own altered versions of gallery maps within galleries, amongst their own, or even replacing them altogether.  The altered map would differ from the original in a few ways, depending on the nature of the gallery and the map.  A proposed route would be changed, or the numbers indicating the position of a piece of work would become letters or numbers that do not correspond with the numbers next to the text.  Room numbers would be changed and the maps original purpose would not be fulfilled.  Instead, there would be concentration on the work within the gallery and a stronger sense of exploration and discovery. I'm not sure that this is something that I wish to pursue anymore, but it has got me started on thinking about work I can make from the research that I have been doing.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Last week I went to two very contrasting spaces both designed to show artistic works.  The New White Cube gallery in Bermondsey is a commercial space designed specifically to showcase the work that is exhibited there.  The Sir John Soane Museum in Holburn began life as a private collection within the house of the architect Sir John Soane 1753- 1837.  The house has now become a museum and is slowly being restored to how it would have been upon Soane’s death in 1837.  Sir Soane is interesting as he had a lot of involvement with what is considered the first free public art gallery in Britain, Dulwich Picture Gallery.  I am thinking of visiting the Picture Gallery in the course of my research, but for now the house, now the museum is at the focus of my research. The space in the house is in complete contrast to the space of the White Cube Gallery.  And so it would be, they were conceived nearly 200 years apart.  It would appear that the concentration within both spaces is on the collections they hold.  This is very apparent within the White Cube as the space is obviously designed not to be considered within the viewing of the work.  It is a boring bare space, the work displayed inside it is what brings the interest.  This would appear to be so that the attention is on the work rather than the space holding the work (I know, I really need to read Inside the White Cube, Brian O’Doherty, and it’s on my shelf at home, honest!)                  Sir John Soane Museum is different.  Perhaps this is partly due to the fact that it is called a museum not a gallery (I’m sure I have more literature to read in this area too.)  Originally the house was used by Soane to show off his collections of artistic objects from around the world.  These include plaster copies of sculptures, many from the Vatican, an Egyptian sarcophagus and a room dedicated to paintings.  The display of the works, and the nature of the house itself beg to be explored, every corner holds something new. As much as I am interested and enjoy the works of Anslem Kiefer, whose work was on show at the white cube, I found I enjoyed visiting the Sir John Soane Museum far more.  Perhaps that’s because I love old houses, especially unusual ones.  Perhaps it’s also because I felt less like I was there because I ought to go and see some art (even though it was suggested to me in a tutorial).  The differences between these spaces are something that I am going to consider further in my research, which will eventually lead me to making some work.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 I’ve done so much research recently; it’s been really interesting and quite fun.  But it has meant that I have changed direction with my work.  Although here is the problem, I haven’t made any work relating to my research or anything else for a while.  I don’t even know what to make.  It’s a little worrying considering I’m a matter of months away from my degree, which I’m sure you’ll agree is fairly important. However, today there has been finally been light at the end of the long, cold, dark tunnel of not producing work.  I still haven’t made anything, but I’ve had Ideas.  It’s all very exciting, I hope, and this week I shall begin trying things out, hooray!  Though the research into the gallery will still continue, now I can feel more like I’m being more productive towards my degree show!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 In most galleries and museums that we go to there are maps and arrows to point our way.  This makes it easy to predict a person’s path through a gallery space, and indeed when monitored (as seen in the image below of the Sainsbury wing of the National Gallery) the pathways are pretty much as expected, and on the most part are similar.  What happens if such directional devices are removed?  Rooms are no-longer numbered; there are no arrows and no maps.  Would people’s pathways through the gallery change?  And what effect would this have on the experience of the visitor to the gallery.                  The space of the gallery itself would become more obviously directing.  Newer galleries, such as the Tate Modern were designed with visitor numbers in mind.  The layout of the rooms at the Tate mean that visitors are more likely to move about them in a particular way, and are also less likely to miss a room than in other galleries.  Those involved in the designing of the Sainsbury Wing said, “We want to avoid the danger of visitors by-passing rooms because they are out of the way or appear to be in a cul-de-sac”.  The removal of directional devices, therefore, may not initiate so much of a change in the movements of the visitor.                 As you can probably tell, I am still thinking about different features that make galleries the way they are, and influence our movements within them.  Though I am no longer concerned just with the differences in movements between galleries but also between experiences; if you’ve been to an interesting gallery, exhibition or museum space I’d love to know about it.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 This is the second of my proposals for the three wishes project: Newer galleries, such as the Tate Modern, were designed with visitor numbers in mind.  The layout of the rooms at the Tate mean that visitors are more likely to move about them in a particular way, and are also less likely to miss a room than in other galleries.  Those involved in the designing of the Sainsbury Wing said, “We want to avoid the danger of visitors by-passing rooms because they are out of the way or appear to be in a cul-de-sac”.  The design of the gallery subtly directs visitors in a form of crowd control that creates similar experiences for each visitor.                 I want to create a different type of gallery space, so that each time a visitor comes they have a new experience and sense of the space, and therefore the artwork within the space.  I have sought to create a gallery space that does not allow the visitor to easily see from one room to the next, with differing interior and exterior spaces.  I have not numbered the rooms so there can be no order perceived from there, and I probably would not offer a map.  I want to ignite the feeling of exploration in the visitor that I would feel when I went to galleries and museums when I was a child – The sense of discovering something new every time a different room is stumbled upon.                 I do not mean by this to draw attention away from the art that housed within the space.  After all it is considered to be the museum or gallery’s purpose to display art.  The pieces displayed in the different spaces in the gallery become a commodity that the visitor seeks to discover, and in the discovery can appreciate the piece as something exciting that they have found.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 This is the third and final of my proposals for the three wishes project.  It is also closest to the work that I am planning at the moment.  The first two paragraphs come from one of my previous blogs, so sorry to be repeating myself! The New White Cube gallery in Bermondsey is a commercial space designed specifically to showcase the work that is exhibited there.  The Sir John Soane Museum in Holburn began life as a private collection within the house of the architect Sir John Soane 1753- 1837.  The house has now become a museum and is slowly being restored to how it would have been upon Soane’s death in 1837.The space in the house is in complete contrast to the space of the White Cube Gallery.  And so it would be, as they were conceived nearly 200 years apart.  It would appear that the concentration within both spaces is on the collections they hold.  This is very apparent within the White Cube as the space is obviously designed not to be considered within the viewing of the work.  It is a boring bare space, the work displayed inside it is what brings the interest.  This would appear to be so that the attention is on the work rather than the space holding the work. The Sir John Soane Museum is in a maze of a house with the appearance of trying to fit as much into the space as possible – it is the antithesis of the White Cube Gallery.  But the experience of going into such a space, where the space is as interesting as the work on show, changes the way you view the works you see. I want to create an installation within a white cube style gallery space that emphasises the differences between these spaces.  The installation would be of a different type of gallery space, but would be used to show the same types of work on display in the main gallery.  Galleries today are designed with visitor movement very much in mind; it is easier to get lost in older galleries.  I want to show this difference through the rooms and corridors that I create in my installation.  Pictured to the right is a very basic plan that I could adapt for many different galleries.  Below are floor plans of other designs.   All these designs aim to combine rooms and corridors in a similar way to the Sir John Soane Museum, keeping in mind other galleries and museums, such as the National Gallery and Victoria and Albert Museum.  The most important consideration is that the space is meant to show work. Therefore it would be suitable for different types of work.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 So the Degree show is looming, and finally I have some plans.  Last week I put forward my idea to the rest of my year group on my course.  I explained how I want to design part of, if not all, the gallery space in which people will show their work.  The space itself would therefore be my work and I would not have anything else in the exhibition.  I want to do this as a way to explore how space influences how people view art, whether through the order they see it or the experience they have in seeing it. There was predictably a mixed response, but on the whole it seemed more positive than I had expected.   The main things I have to do now is continue my research into the gallery space, begin designing the space that I want to make and work out how I am going to afford it.  I will probably have to apply for funding.                 Hopefully I can begin to get some design ideas in the next few weeks, as I need to get people who would be willing to show their work in my gallery and the best way is to show them what I want to do.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 On Friday I visited the Dulwich Picture Gallery (designed by Sir John Soane whose museum I visited a couple of weeks ago) and the Victoria and Albert Museum as part of the research I am doing into different gallery spaces.  The Dulwich Picture Gallery is on a far smaller scale than the V&A, so its architecture reflects this.  The gallery has a clear main axis with arches separating the galleries, though they are so big that the separation is more ideological that actual.  This is different when looking at the rooms that have been added through the galleries history.  The separation of these rooms from the main gallery is more apparent, not only in the colour they are painted but also in their shape and the doorways that seperate them.                 The thing that struck me about the gallery was that it housed a mausoleum. This was dedicated to those who made the gallery possible, the benefactors and the founder of the Dulwich college, in whose legacy the gallery was built.  This is not something that I would use in my own design.  Some things that I will consider in my own design based on this is the importance of lighting.  Dulwich is one of the first examples of using ceiling windows so that there is less direct sunlight that could damage the works on show, and also to allow more wall space. The layout of the V&A as well as its scale mean that it is far easier to get lost and loose sense of direction in the gallery, which I did a few times.  In many of the galleries within the museum the exhibits themselves, within their glass cases, create the walls.  In many of the rooms it is obvious to see that the layouts and designs of the spaces have changed over the years.  Much of the original architecture is covered by the displays, and artificial light is used and natural light is blocked.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 I really need to make some decisions about what I want to achieve from my gallery design.  In my previous posts I have talked about how I like museums and galleries where you can get lost and there is less of a sense of being directed, this is definitely something I want to achieve.  But there are other things to think about, like how can I make spaces for inter-disciplinary works that we have on our course, lighting and colour in the rooms/spaces, scale etc.  I am already thinking that it will be a series of interconnected rooms rather than a wide open gallery.  But I am unsure of how to connect the rooms.  Normally in a gallery or museum rooms are connected through doorways that allow you to see into the next room.  This is so that thework in the next room can catch your attention and lead you on.  I’m not sure if I want to design my gallery like this. I’ve spent today making different plans to try and clear up what I want to do.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 ve been told that I won’t get any funding from the university to help with my degree show project.  This could mean that I can’t make what I want to for the show.  I will however carry on with it for now (I’m looking at colours for the walls at the moment), but I will also keep in mind any other ideas I have that could be more affordable.  One such idea I had been hoping to try out this weekend but laziness, procrastination and bad weather have prevented me.                 I want to see how people outside of a controlled, safe environment, such as a gallery, react to directions.  I am going to go to Queens Park in Brighton and tie arrows to the trees and see who follows them.  It’s a fairly simple project, and mostly just too see what happens.  I’m trying to work out how appealing and obvious to make the arrows, at the moment they are just cardboard and could be easily missed.  So I think I will make them bright fluorescent colours.  I also want to try this at the weekend when there will be more people around, including families with children who might be more likely to take part.  I’m going to wait for better weather too, and will probably repeat the experiment a few times with different things on the arrows.  I’m not expecting many people to follow them, but hopefully I will be pleasantly surprised.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 To prepare ourselves for our degree show our tutor has set us a small project; to put on an exhibition in a display cabinet that is outside our studios.  For this exhibition each of us must provide at least one artefact to go in the space.  That’s 16 artefacts in a relatively small space.  The artefact must represent out practice so that the exhibition can work as a type of preview to the degree show.  As my course contains a lot of critical theory and some strong opinions, we began with a debate on what an artefact was.             I began making a model to go in the cabinet as my artefact.  The model is similar to the models I made of mazes, though it is of one of my gallery designs for the studio.  While talking about it with people in the studio while I was making the model a question arose; is this a representation of my practice or my practice?  This question has had me a bit stumped all weekend.  I think it’s related to the difficulty I have describing my practice, especially as it has changed so much over the three years of my degree.  I see these models that I make as a way to plan installations and constructions that I want to build.  But I’m not sure if that makes them part of my practice or not.  I guess it does, particularly when the installation is never realised, as with the mazes (see edit to 7th February 2012 entry).                 I am now trying to consider something that symbol what I am thinking about in my practice and my research.  I have been looking at direction of the spectator, through the artist controlling their actions such as in many performance, installation and participatory practices and through the gallery space itself.  The provision of direction and maps for the visitor to the gallery has been the focus of my most recent research.  And I have been trying to find ways to avoid such a rigid route around gallery spaces.  So a symbol of direction seems to be representational of my practice.  I am thinking of using either a map or a directional sign, probably an arrow that will become my artefact.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 I’ve been designing a few different gallery spaces based around our studios which will become our gallery in the degree show.  I’ve been struggling to decide what I want to achieve from a space and so have created a few designs.  Pictured here are designs that are meant to encourage the visitor in one route around the gallery, one that encourages wandering with no direction, creation of a maze like space and the use of corridors. I have been researching the works of Daniel Buren and Michael Asher and their reactions to gallery space.  One of the most appealing ideas came from reading about Buren’s exhibition The Museum That Did Not Exist.  This exhibition was at the Centre Pompidou a few years ago.  Buren split the space he eventually negotiated for the exhibition into a chequer board type effect (Below).  The aim of the space was to allow the visitors to move as they pleased.  In theaccompanying catalogue Bernard Blistène said ‘… very few exhibitions offer so much freedom to their visitors.  Few, too, have so determinately refused to impose an itinerary.  Few have been constructed with such a resolute idea about avoiding and scheduled, marked out route…  Buren wanted people to get lost in his show.  No question of a beginning or an end, of any obligatory circuit or a laid out path…’  I think that I would like to achieve something similar in my own gallery. ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 One of the most predominant ideas in my research has been the idea of discovery within a gallery or museum and the feeling of getting lost among the work (such as the Buren research mentioned in my last post).  My favourite ideas for the design of our gallery space revolve around this idea.  I love the idea of using corridors between rooms to make the visitor want to seek out the artwork.  Currently I am thinking of creating rooms for each person to show their individual work in.  These rooms would be painted in a light colour, though probably not white.  Connecting these rooms would be corridors which would be narrow and painted dark to create a claustrophobic feeling.  Entry to the lighter rooms with the art works would be like a type of relief from the corridors.   The corridors would also serve the purpose of separating the works.  This would work well on a course such as mine where there many different types of practice to be displayed within the one degree show.  We produce such a diverse amount of work between us that it has often been difficult in past exhibitions, and in past year’s degree shows, to display continuity between the works.  The gallery layout that I am currently looking at would allow there to be an emphasis on the different nature of the work produced on Critical Fine Art Practice BA (CFAP).  Pictured are some of the layouts and colour schemes I have been exploring.  I have paint samples in the post and will hopefully be building a mock up of two rooms separated by a corridor in our studios this week (Plan Pictured Below).  I will make this mock up from cardboard and chipboard that we have in the studio, though the actual gallery would probably be all boards and not cardboard!  The main problem that I am trying to sort out is that of flooring.  We have very scratched wooden floors in our studios;  it is expensive and timely to try to change them.  We will have two weeks to put up our exhibition, but I have to allow people exhibiting in my gallery space time to install their work.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 “Hi Rosie, forgive me if I state something you have covered earlier, I have not yet had time to review all your posts. I have skimmed this most recent page and it strikes me that your plan drawings make for very good art in their own right, even if their original purpose is not known. I could certainly see them presented as a serial work recording an exploration of space. Of course, making the gallery experience a reality is (I think) very important to you, but the work recorded here in this blog is important too.” This comment on my last post from David Riley is very similar in ideas to what I talked about with my tutor. So thanks David, this has been really useful to help me think about things. I’ve found writing this blog incredibly useful as a way of thinking about my practice, and it will probably form a large part of my documentation that I must submit alongside my degree show work. I have been concerned that I’m getting ahead of myself with my plans to build a gallery space. We have been reminded a lot recently not to get too hung up on one idea at this stage as we could end up ignoring other (possibly better) possibilities. I’ve kept telling myself that I couldn’t think of any other ideas, but I think that really I just wasn’t making the effort. I seem to have jumped straight to the most obvious result of my research and it is perhaps a bit clumsy and also unnecessary. I may go back to these ideas, and I am still going to build a cardboard mock up that will help me explore my ideas around designing a space. But for the next few weeks or so I am going to concentrate on ideas that have arisen following my tutor’s advice to make a list of as many ways I could think of to physically alter a space. My head has been so set on building something that I have missed other things about my practice that work well. As David said in the above comment the drawings I have made of floor plans are quite interesting in their own right and not just as rough plans. I also want to look at other ideas which I will test in the studios and the cardboard space that I am going to create this week. I’m quite excited to be looking at other things, especially as I have been having doubts that building something in the way I have been thinking may not work. I hope that this post doesn’t make me appear to be feeling negative about my ideas to build a space, I will still keep that idea in mind. But my research has lead me to think about a number of different characteristics of a gallery and by building my own space I offer only one solution. And it is a solution that has been done time and time again – build a different gallery.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 I'm feeling really positive about my work at the moment.  However; we have cross year crits next week. They are an opportunity to see what is happening throughout the years and to get feedback on your work from people who have not seen it before. They happen every year, and every year it has been a rush to get work together. The problem I am having is working out how to get my work to a finished standard. And how to show it in a crit when I cannot talk (this is how our crits run, the artist is not allowed to speak until the end). I am going to use the cardboard space that I have designed as a starting point. I am undecided as to whether to put work in it to be looked at or to get people to crit the space itself. This is particularly after yesterday’s tutorial. I have begun to build the space, today I marked it out on the floor and began painting the cardboard for the walls, I am only painting them white for now, I am going to get samples to try out colours. It looks a lot bigger in real life. Planning it out has also allowed me to think about some of my other ideas that I mentioned yesterday. Particularly in relation to my floor plans. There is something really interesting in seeing them marked out on the floor in real scale, and I may consider this as an alternative to physically building the space. My heads a little all over the place, hopefully when the structure goes up tomorrow I can begin to sort out what I want to do.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 The cardboard test of my gallery designs has been built. Instead of cardboard however I have used lining paper to make up the walls as it looks far neater and is more suitable for my crits next week. Unfortunately, I appear to have built myself a white cube space, which is not what I had intended. I have made some other changes that are intended to help me explore other ideas relating to my gallery space research. Instead of building the complete structure as originally planned I have build only half. The other half has become a floor plan of what I was going to build drawn directly onto the floor. I have been considering how my drawings could work as pieces, and one of the most appealing ideas was to transfer them to the floor in this way. I am also considering trying this with maps and routes around a gallery space. Another change I have made is inside the ‘room’ that I have built. Rather than leaving the walls bare I have drawn (in the same tape as the floor drawing) some of my initial floor plans on the wall. Again this is to experiment with how these drawings could be used. I have also painted a square of a colour that I had been thinking of using for the original design ideas on the wall. I’m not sure that this does much to dispel the feeling of white cube within what I have made, but I am hoping that these pieces in their entirety can go some way to showing my process during the crits on Monday. This is particularly important to show at this stage as I am not presenting a fully formed idea, and am also not allowed to speak to explain my work until the end of my allotted time. I am currently struggling with a title for the work, I will not separate the elements of the work for the crit, so the title must encompass everything as well as helping the viewers to understand what they are critiquing. Currently I think it will be along the lines of, ‘experiments with gallery space’ or ‘Gallery Design’.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 My crit on Monday went pretty much as predicted. The major issue with the work that I presented was due to it being unfinished work presented as finished. This meant that there was a level of confusion over what was being looked at and how the work was supposed to be received. The title ‘Experiments With Gallery Design’ caused people to question if it was a proposal for work to come or was a fully resolved piece of work. There was more confusion caused by the floor plans on the wall, as the centre plan, which was of the structure that was partially built and partially marked out, was not in proportion to what was physically present. I expected the work to be confusing. I do not see it as a resolved finished piece of work, more as a way for me to experiment with ideas. It was this that made it confusing. However, I have plenty of ideas to think about and lots of useful feedback on the presentation of my ideas that I can now continue to work on. Over the next two weeks I want to look at two ideas that move away from physically altering a space and look at other aspects of the gallery that I have thought about during my research. These will be gallery guides and the chairs at the Dulwich Picture Gallery.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Our degree show at Brighton opens to the public on 9th June.  We however, must have all our work installed and ready by 25th May, so that it can be marked by external examiners.  Writing this out makes it seem more and more necessary that I sort out my practice, which is currently a bit all over the place. The others on my course would like me to present a proposal on my work next week.  My ideas all revolve around the gallery space and the way in which it is used by visitors.  Some of my ideas involve manipulating the space, this will have implications for our entire show. There are only 16 people on my course, but the nature of CFAP (critical fine art practice) means that everybody's work is very different, in media as well as content.  Our practice is informed by the theory we read, and everybody reads different things.  This means that creating continuity in a group show is difficult.  Luckily we have the chance to experiment with our 'preview show' outside our studio in a cabinet.  We have titled this show 'Yoke', and I will talk more about this next week after it has opened. The issue with my more intrusive ideas, as well as it affecting other people's work, is that I was planning to use just one of the two studios that will become our gallery.  This of course affects the continuity of the entire show.  Basically, I am greatful to have kept this blog, and hopefully I can use this to come up with a proposal about my work.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 About a month ago I visited the Dulwich Picture Gallery as part of my research into gallery and museum spaces. Something that interested me at the time, though I dismissed in my research as not related to gallery spaces as a whole, were the period style chairs and chests of drawers in the gallery. These pieces of furniture I assume date back to the beginning of the gallery and when it was first built as the first public art gallery in Britain. They feature mainly in the side galleries, along the main axis of the gallery there are large upholstered benches. You are allowed to sit on the benches – you are not allowed to sit on the period style chairs. It seemed a slightly ridiculous concept to me to have chairs that once were so obviously intended to be sat on made so redundant. Last week I made a small piece of work in response to this using the chairs within the studio. It seemed to me that the idea translated quite well to the studio as it again expected that you can sit on any of the chairs. It is however quite a different environment to the gallery. The chairs in the gallery are obviously left in as an educational tool about the history of the gallery and of furnishings within the gallery. I created my own notice to go on chairs asking people ‘please don’t sit here’. I then left this in the studio on one of the chairs. Apparently when I had later left the studio one of my coursemates saw that I had put this on a chair. His response was along the lines of ‘For F**** Sake...’ When I came back in on Monday my notice was on the floor. I don’t know if this will lead me anywhere, except possibly to try this as an intervention in galleries I visit over Easter. But in terms of the degree show I see it more as something I really wanted to try out, and not something I am expecting to use within the show.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Last week I printed out and went back through all of my blog entries from this academic year. I did this as I was beginning to feel I had lost a sense of direction with my work and was in a lot of confusion as to what to do next. It was a really useful exercise and helped me to settle on two ideas I want to carry forward towards the degree show. These ideas involve the floor plans of my gallery designs, which I shall talk about in more depth in a later blog this week. And the use of gallery guides. When I first began looking into the gallery space it was through gallery maps. I was thinking about the safety of the gallery, and the way in which the gallery space controlled and directed the visitor. I found the maps problematic, as my view of a museum or gallery was somewhere that should be wandered aimlessly and becoming immersed in the surroundings. Right at the beginning of my research I came up with the idea of a handbook for a gallery, telling you how to act and what to do within the space. I searched on the internet to find the right kind of text so that I could learn the language used in handbooks. I then stumbled across ‘Art for Dummies cheat sheet’ by a former director of the Metropolitan Museum New York, Thomas Hoving (see link below image of the book). This ‘cheat sheet’ seemed incredibly one sided and contained the jem, ‘art and politics never mix’ which being on a critical theory course made me laugh (this book is oblivious to Ranciere’s ‘Art and Politics’ in which he claims all art is political, or to Joseph Beuys’s role in founding the Green Party). I then became distracted from this idea by my gallery designs. It was only when just over a week ago I was going through the mound of print-outs on my desk at uni that I rediscovered the cheatsheets. I have since bought the book ‘Art for Dummies’ and began reading it yesterday. I have used the cheat sheets to make a very rough mock-up of my idea to transform them into a gallery guide, looking like the maps that I have collected from galleries. I also want to make my own version and the two would be handed out together. I am not yet sure what to do with my guides. Talking to my tutor yesterday has given me the idea that I could use them to make the visitor act in an abnormal way, such as taking their shoes off, walking backwards or not talking at all within the space. I quite like the idea of making them do the opposite of Hoving’s guide. I hope that I replicate the type of friendly and light hearted, yet slightly condescending language of the handbook.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 This week was the opening of our collective pre-degree show exhibition, ‘Yoke’.  For this show each student was asked to submit at least one object that was representative of their practice (after some deliberation, mentioned in a previous post, I chose to create a sign post pointing in many different directions).  The show works as both a preview to our degree show, a way to generate interest, and a method of trying things out.  It is not a large show, we had to fit it all into a cabinet that is outside our studios. The title ‘Yoke’ came as a way in which we could explain the concept for our show.  A yoke is a tool used on farms to harness together two animals in order to pull a heavy weight.  The word also has connections in many languages to the idea of collection and connection.  I have mentioned before how the work produced on CFAP is all of a very different nature is hard to connect to one another.  We chose to play with this idea of creating connections between the objects that were arbitrary and unimportant in the context of the work.  We did this through an hour long discussion in which over 300 connections between the objects were offered up.  These connections were displayed on a poster covering one half of the cabinet, with the objects in the other half.  The objects are not labelled, though during our discussion they had been assigned letters which appear on the poster.  It is up to the spectator to create their own connections in much the same way as we did. For this show we split into three groups that fed back to the whole group.  These were, curatiorial, promotional and practical.  I was involved with the practical side, helping to source the materials we needed, building shelves, painting the space and working out any other practical issues.  It’s been a great help for our degree show, and we all seem to have worked out which roles we are best suited to.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Our degree show is progressing well. On Wednesday we presented our ideas to each other so that we can have an idea of space and any issues with intrusive work (such as mine, and works involving sound and light etc.) We have not yet settled on a title for the show, this will probably happen in the week after Easter. What we have decided on is a concept for the show. This involves having an antechamber through which visitors to the show must pass before entering the main gallery/studio space. The antechamber shall work in a similar way to the cabinet show in that each person will provide objects and books that represent or have influenced their practice. In the same way as the cabinet show the objects will not be labelled and it is up to the individual visitor to connect what is in the antechamber to work that is on display in the main space.  After Easter we should each have 10 objects that may go into the antechamber space.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 The following is a proposal of my work for the degree show. We each presented our work so that we could have an idea of work that could be invasive and keep track of what each person is doing.  Everyone seemed happy that this plan was not as invasive as my first ideas, and is a stronger idea too.  Unfortunately I then had a tutorial and my tutor prefers the workt hat I have been doing with gallery guides.  I shall keep working on both and decide after easter which I would prefer to do. My work recently has focused on the directional nature of the gallery space. I have looked at how architectural design of the gallery is a major tool in the direction and paths of visitors to galleries, particularly with newer galleries such as the Tate Modern. The use of directional devices seems out of place to me in a space that, in the past, was considered a place to stroll, a place to wander and discover new things, as well as a space to see something specific. I want to get lost in a gallery, to make my own discoveries. These ideas are influenced by visits to the Sir John Soane Museum, a maze of a house full of a variety of types of artwork and artefact. I find that in becoming lost in a museum or gallery you become more immersed in the work that is displayed there. My floor plans aim to explore different gallery layouts that intend different experiences for the visitor. These include being directed around a space, encouraged to get lost amongst the space, and emphasis on the differences of work on show. For the degree show I want to draw one of these floor plans, in actual size, onto the floor of the studios. This could be either 207 or 206 or ideally throughout both. The aim of the floor plan is not to curate the works in the exhibition; that would be done however the curating team decided. The aim is to show the possibility of a different type of special layout, which would offer a different experience of a gallery. Practical Considerations: • I shall probably use vinyl tape to draw the design on the floor, but I need to find out if this is achievable. • I do not know what colour it will be yet. • It will not go on the walls. • The condition of the floor is something I need to discuss with Sina as well as with everyone in the group. • Maintenance of the work, I am not sure what I will have to do during the degree show to maintain the piece, if anything. I will know this when I know what material I can use to create my drawing.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Before the beginnings of the Easter break I had a tutorial about my plans for the degree show. My tutor suggested that I needed to go galleries over the holiday and work out what it was that really interested me or annoyed me about gallery spaces. I hoped that doing this would help me focus on the intent of my work and choose between ideas for the degree show. On Friday I went to the Gillian Wearing show at Whitechapel Gallery, Jeremy Deller and David Shrigley shows at Hayward Gallery and to the National Gallery. I will go over the first two shows later. While at the National Gallery I decided to secretly film people looking at the work (not sure if this is actually allowed...). This is meant as a form of research and not as a piece of work. It was interesting to compare different groups of people, tourists, school groups, lone visitors and groups of visitors. I have not reviewed the footage very much yet but I want to compare these groups, how much time they spend looking at work and what they look at. Whilst at the gallery I decided to follow the advice in Thomas Hoving’s book so that I was visiting the gallery ‘the way the pros do’. I went straight to the shop and bought a postcard of Holbien’s The Ambassadors which I at one point ‘waved’ at a guard to find directions. I also looked at what I didn’t like and listened to music. Hoving even recommends what music to listen to, so I might repeat this exercise keeping more strictly to Hoving’s guidelines. I filmed myself asking the guard directions.  Hopefully I can use this footage as a way to find focus in my work.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 I’ve been thinking more about the tutorial I had with my tutor a couple of weeks ago and how she saw my floor plan ideas as one sided and felt that my gallery guide idea was the stronger of the two. At the time I felt it was the other way around. But going around the galleries and looking at the film that I shot at the national gallery I think that she was right. Gallery guides and maps are where most of this work started from, and the floor plans seem to be moving away from what it was that really interested me, the control of the visitor within the gallery. What is clear from looking at the film I took in the national gallery is that I was trying to focus on people’s actions in the gallery rather than the layout of the rooms. It doesn’t help that for our degree show there is a very strong feeling that what we show our work in is our studio and not really a gallery space. As well as this, the space is a lot smaller than the spaces I have looked at in my research. The floor plans just won’t quite work as part of the degree show. What I can use to show my ideas though is the gallery guide. That would not be so out of place in the show as a design alluding to an actual gallery where there is none. They also have far more in common with the work I have done at the beginning of my third year and throughout my degree. There is a degree of participation about them that my work, and my dissertation, has often focused on, and the floor plans do not. As it is people’s actions in the gallery that interest me then instructions and guides seem the way forward. I have been looking at artists such as Yoko Ono and Erwin Wurm who have both used instructions in their work. I’m thinking of linking these guides with the idea of the gallery as a secure place. I have touched briefly upon this in past blog entries, describing it as a safe place where people feel comfortable to follow a stranger’s instructions.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 I have begun to experiment with designing leaflets. I’m using a floor plan of our studio space, which will be where we display our work, as a cover design. The leaflets will be presented as a guide to the show and I’m also playing with instructions and rules that will go in the leaflets. I’m trying to use what I observed of people’s actions in the National Gallery to come up with rules that exaggerate element’s of people’s behaviour. For example, ‘please be sure to nod and smile at each piece of work’. I have also thought about how the gallery is separate from the outside world, and have created rules related to this, such as, ‘please remove your shoes’. I am going to come up with lots of different rules and instructions and play with different combinations and ways of phrasing them. Elsewhere, we haven’t really done much more with planning our show. We still haven’t got a title, hopefully that issue will be solved next week. I haven’t thought too much about which objects to choose as representation of my practice for the ante-chamber room. Probably lots of maps, gallery guides and books about the gallery.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Our show finally seems to be coming together. We’ve already had three very productive meetings this week and everything is becoming clearer. Our show relates a lot to the issues of putting together a group show. Particularly a show where each person’s work is so different and there is so little to link them. Our title looks at these difficulties further by not being just one title but several (I shall post it when it is finally finished). We’re tackling the issues of continuity through the use of an antechamber which will contain objects and books relating to our practices. The visitor to the show is then encouraged to create their own links between objects and work and therefore also between the art works. There has been difficulty in creating a show with a theme than encompasses all of our practices. In previous years the concentration has been on the idea of the show symbolising an end, or a beginning. Two years ago this was done through calculating the groups collective debt, last year through the title ‘departures’. We wanted to avoid the concentrations being on us as students about to graduate. I have said before about the differences of my course with many others and the difficulty in explaining and presenting it to people, particularly as it encourages such different work from people. It is the difficulty of doing this that has made us want to create a show that uses our differences and plays on the hardships of creating a group show from such diverse practices.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Just a quick update of our progress with the degree show.  The title is still unfinished but by next week I hope to be able to let you all know (it's exciting isn't it...)  In other areas, we now have a more detailed timetable of what needs to be done when, and a rough floor plan.  Which means that it's all really close, and really happening now. As for my own work, I'm off to London for the day on Monday.  I'm going to do some more filming in different galleries in order to try and pinpoint what behaviours are imbedded into us when we look around galleries.  This will help me finalise my 'rules' for my handbook/guide. I'm still not sure what to call my leaflets.  I am also working on the language used in them.  I want it to be the same sort of language in the 'for dummies' series of books.  I've started working on icons, such as 'Rosie Says' which you can see in my previous blog.  This and a 'Top Tip' icon shall accompany the text in the leaflets.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 I’ve just had a tutorial so this post could be a little all over the place as I sort my ideas out. This tutorial was with our course leader Matthew Cornford (whose own work as part of Cornford and Cross is really interesting). We discussed whether my ‘rules’ need to be in leaflets. Leaflets are a throw away disposable form that can very easily be dismissed. Not only this but there are a lot of handouts being proposed in the show. This could mean that my leaflets become lost amongst the piles of paper people will collect in the show. The ‘rules’ become less likely to be read, let alone followed and reflected upon in the form of a leaflet. I therefore need to find a way to elevate these rules from the normal and common to something that forces people to take notice. I have already begun this through writing down the actions and behaviours of people within a gallery space, but I need to take it further. These rules are prescribed by gallery space and so using something in the gallery space to elevate them above the norms could be a good way to force them upon visitors. I am considering several options at the moment, and I am going to brainstorm more ways to elevate these rules. The most prominent idea currently is to put them on to the wall. This would be done in a similar way to the wall text you see so commonly in a gallery. Anyway, I need to think this through a bit more, as I feel it needs something more than just going on the wall. Elsewhere in degree show planning we have a rough floor plan and regulations for building that keep with our aesthetic. We are going to keep all the construction and structures very bare and open. Containing structures and walls are not going to be painting on the outside and the supporting structures will be left bare. This is to go along with our ideas about the construction of a group show and showing how we have come to each point along the way.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 We finally have a title for the show: ContextAn appositionA placing side by side Artefacts brought together in a group exhibitionA collection of objects in an antechamber to a collection of artworks in a showA collection of disparate objects in an antechamber connect to disparate artworks in the show, where non-prescriptive links can be drawnA group of artefacts when considered as a whole creates a more accurate representation of an artist’s practice. An antechamber contextualises a group exhibition; multiple collections combine to create new groupings, allowing for potentially new non-linear interpretations of artworks yes it's very very long.  The idea stemed from not being able to come up with title and having to find systems to do so.  With this title the visitor can make a choice as to when to stop reading.   We're planning to have the title spread outside the studios, where we will have our show, so that it winds around the corridor space. With my own work I am struggling with the display.  Currently I am looking to get the text put on the wall using vinyl lettering.  The thing that I need to work out is if I see it as a piece of curatorial style text, or a text piece.  Depending on this it will have a very different mode of display. Currently I am thinking along the lines of curatorial style text as it takes what is already avliable in the gallery.  This means that I need to think more about the colour of my text as well as the size and font.... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 'Measure twice cut once' is the slogan our tecnician has had printed on her brand new CFAP t-shirt!  All other things not show related have gone out of the window in the past week, and pretty sure that this week will be similar. We've gotten a long way with sorting out our studios and building our spaces.   In fact we were on course to have everything built by today!  Then the table saw was put out of action... However, this meant there was time for a burrito break on Saturday, and meant that I could have an afternoon off yesterday, which I spent sleeping after shopping proved to be a bad idea when you are struggling to keep your eyes open! I thought I'd put up a few images of our progress, its all very excting and terrifying!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 The show is up!  Here are some photographs, more to come soon. Our show opens to the public on 9th June until 14th June. Showing work from Critical Fine Art Practice are; Tamsin Devereux Rebecca Field Maddy Flynn Joshua T Howell Maxwell Jeter Rosie Marchant Izzy McGough Dan Nutt Fran Odmin-Loughlin Emma Palmer Mike Pudan Ann Roberts Philippa Sharpe Eleni Toukeli Matthew Vitty Bethany Williams... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 The show is now open!  Do come along and have a look if your are nearby.  There is a huge variety of things on show such as fashion, 3D material design, illustration and fine art.  I've such a great time on my course, I'm sad to have finished. So far my course's show has been a great success, tutors, head of school etc. all seem to have had good things to say.  And on Tuesday the artists Heather and Ivan Morrison will be talking to us about how they think the show works.  Exciting stuff!  ... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 It's all finished.  Which is strange.  We get our results on Monday, which is pretty scary. So now I need to find something to do in the real world.  I'd really like to work in an art gallery but I've not had much response to anything I've sent or to any or my applications.  So I've changed tactics.  I am now sending galleries tea, because everyone loves tea! (except me, which is kind of ironic).  Along with the tea I'm sending little cards that have QR codes on them that link to my other blog ( r-marchant.tumblr.com ).  Anyway, soon to come will be my blogger profile! Exciting!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 Just thought I would share with you a more detailed picture of my work in the show.  Enjoy!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126 I have a blogger profile!  Horaay!  You can look at it here; http://www.a-n.co.uk/degrees_unedited/article/2274... I have now moved home from Brighton and my life as an art student has come to a close.  Now all I need to do is find a job/ internship/ work experience with a gallery or magazine and make sure I keep up my art practice.  I've not made much progress with either yet... I have plans to create some drawings that are based on ideas I talk about in my blogger profile.  For now I've put performance ideas to one side until I've explored the ideas further. This will probably be my last post in degrees unedited.  I've been developing my tumblr to act as a website and I shall be concentrating my blogging efforts there for now.  You can see it here; http://www.r-marchant.tumblr.com Lastly I want to say thanks to a-n, degrees unedited and Richard Taylor.  Keeping this blog has been a great help for me this year and being awarded a runner-up prize was amazing.  I'm sure I'll be back blogging on artist's talking at some point!... Thu, 01 Jan 1970 00:00:00 +0000 http://www.a-n.co.uk/degrees_unedited/projects/single/1928126