Ideas? Technical issues?
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By: Omar saif
BA FINE ART
# 17 [22 May 2012]
# 16 [19 May 2012]
Today after finishing painting the boards I attempted to place the drawings on the left edge instead of the alcove considering Gary's advice.
This position seemed more commanding of the space and utilized the whole room. When placing the drawings in the indent it was too close to the door and would be bypassed by the viewer as it existed in an awkward place.
Another difficult task was getting the projection to fit the drawings. Even after cutting the drawings to the specific size of the projection the sizes did not match perfectly.
# 15 [18 May 2012]
Yesterday involved helping Jim set up some spaces in the basement studio's as his colleagues left work at 5'oclock. Being part of making the space for others felt a worthy investment of time, seen as once finished with their space's I would be able to help Jim build my own.
Just before 8'oclock this was managed and I did some preliminary sanding and filling before applying the gum strips and letting them dry for the night. Helping alongside was a few other students as well and this atmosphere was productive and informative on processes such as good painting, taping, etc...
I have had also had another thought concerning the space I intend to occupy with my drawings and film. I spoke to Gary and he seemed to question being set on using the alcove. Obviously due to unseen circumstances this alcove could not be towards the middle of the wall due to the requirements of shelving and storage.
My initial plan was to place a curtain to block any direct let that would filter through the doorway. However as Gary pointed out, utilizing the flat middle of the wall would help command the space more efficiently. Understandably Gary said he didn't know the context of the work with the film, however after painting both walls, I will have some time to negotiate the most successful mode of display. The edges of the drawings have been kept as sharp, sanded down and painted as possible so placing on the flat wall, more away from the light may be more appropriate.
# 14 [17 May 2012]
'I am writing about, I am living in, that block of the Pennines made of millstone grit, and ringed with the Yorkshire wool towns to the east and the Lancashire cotton towns to the west: those towns whose lights at night dance in little cups and hollows between peninsulas of the moors, from which they look like safe little harbours. (Or they are like the lights of ships which, with the stars, continuously puncture one dark fabric of the world and its sky.)'
Glyn Hughes, Millstone Grit, London: Victor Gollancz ltd, 1975
The imaginery dark vistas which Glyn Hughes describes feels an apt description of the rolling hills resemblance to huge sea waves and the long dark. This example of writing which turns something physical which I know into a different place is something I would like to work with following this latest final project. Hopefully what I have just done may be prematurely suggestive of taking this next step.
# 13 [17 May 2012]
Another variable to consider is glare visible on the drawings. This is usually only localized where pencil is used on the drawings. Removing this factor would be preferable as it can be a distraction and even a hindrance to the viewer.
In the experiment done the other day, when the drawings were placed higher up the wall some of this shining disappeared. I figured to remove it more completely the drawings would have to be slightly tilted. The bottom of the drawings would come out of the wall a bit more. This will have to be Incorporated into the baton hanging on the back.
# 12 [16 May 2012]
As I have printed out my sketchbook notes and final project development, in these final days I will relay any relevant information concerning displaying the work in real time and any changes I make to the plan.
Yesterday I measured how big the projected video would be in my allocated space, I then made measurements and today cut the drawings to size.
This provides the drawings with the tailored functionality of a screen. The boards are planned to be set up in the workshop tomorrow and I have marked the particular point to start boarding. If this goes to plan, the drawings should fit exactly in the measured alcove.
This would hopefully provide the audience with a more designed space in which the drawings and the animal's characters may inhabit. Also as the animal's eyes are all level these will be placed at the average eight for eye level. This may provoke some sort of relationship between the drawings and the viewer, in an ideal situation.
I was also preoccupied with sanding and painting the edges of the drawing which were partially wounded by the plight up to Millstone Quarry.
# 11 [14 May 2012]
The spaces have nearly been completed. Much hard work has been put in by the technicians this last week. Students are collaborating on painting spaces and beginning to organize work to fit in.
Some recent developments in the upstairs studio have caused there to be reduction of space in the far left wall. This has dislocated a few students from their spaces but fortunately there was somewhere else they could display their work.
In terms of my personal degree show development, I have prepared a plinth to house the projector, DVD player and speakers. I have these available and will do some test runs in my area. I noticed at some points of the day the entrance in the workshop becomes too bright to have a projection so I discussed the possibility of installing a black fire curtain with John Wills.
I have cut my drawings to fit exactly in the prospective alcove I have drawn in for the technicians to build. Hopefully it will run according to plan.
# 10 [1 May 2012]
In some recent shifting and last minute changes to proposals a significant change has been made in the top left hand corner of the Upstairs Studio. This was due to a few people requiring more wall space, fortunately they were accommodated however building is set to begin tomorrow so no more changes can/will be made.
Also a group decision has been made to remove any partition between the Fine Art and Creative Practice course as this will resound more coherently under the banner of SPECTRUM.
Labels are set to be laser cut and each student will require to send relevant information about their work to the curation team. This will enhance the flow of works presented as all labels will look the same.
# 9 [23 April 2012]
Further updates on upstairs studio plans, some people have been moved around to better occupy the space and to form a more coherent display of works.
# 8 [20 April 2012]
Update on cu-ration group progress:
Final plans with each artists location have been finalized are being edited for printing and use within the degree show catalogue.
This came round after last minute tweaking of where some people displayed their work.
Key points to consider now are:
Labelling to be uniform and look professional throughout the show.
To set up a coherent uniform platform in which students may present business cards.
To negotiate terms of budget allocation towards label printing.
My aim is to engage and find how the concept of ‘nature’ may be both environmentally and metaphysically explored through the art-making process.
My practice in drawing intends to satisfy a personal discovery of the ‘natural world’ by using the notion of animals removed from their ecological setting as a method to explore human interactions in the ‘natural environment’.
An intense involvement in climbing permits a strong physical interaction with the natural environment whilst the subversive philosophies of writers such as Joseph Chilton Pearce advocate the preternatural context in which my practice also operates in.