Viewing single post of blog The Female Form

26/03/21 we had a session on our exhibition proposals, see initial notes from session below.

In relation to this module we have to create some installations or drawings/collages. I was really interesting in creating both drawings and mini maquette, to get hands on. Mike Kelley’s exploration of maquette’s pushed me to create one as it’s more than unlikely I will be able to create a cinema installation room due to COVID. Kelley’s miniature Centre Pompidou is so detailed/life like you can really envision it, see below.

Mike Kelley, Centre Pompidou, 1995.

In this session we had to bounce ideas/envision how we would create our installations if possible or represent them. I aim to continue the exploration of mirrors, projections, cellophane, photography and film. As discussed with Catinca, small spaces and diverted eyes/gaze would be exciting in regards to the space as well as how to look/approach the art. The two initial ideas were:

  • A small box with holes which would contain the projection – kneel down to look, it interacts ideals of the gazers’ gaze. See digital drawing below.
  • A larger box that would be open as a physical maquette appearance of a cinema – use to project into included cellophane draped and mirrors (?) see drawing below.


This session was very helpful as I had this in mind for a while but never got round to trying it. I drew the initial idea I wished to go ahead with in regards to creating (the larger box Sweet Box). My peers suggested it sounded like a theatre/cinema and to play off of this further. See developed digital drawing/collage below, I tired to have a clear path of what I wanted to do/achieve. I aim to display it as an actual cinema e.g. carpet floors/black walls and a white space for the projection in a cardboard box. РAs the film Sweet Tooth B&W is becoming very eery, it feels this maquette will engross this idea further especially as it plays in a small enclosed space. My peers mentioned artist Olafur Eliasson to revisit as he works with transforming a space for his art to be in, like in Beauty below, the room became the water Рthis is what I aim to work with with cellophane/projection.

Olafur Eliasson, Beauty, 1993.

Reflection 07/04/21: The angling of the photography/filming in Sweet¬†Box, of the space and work made the space feel like it could’ve been a room – this is what I wanted!

The drawing is pretty self explanatory – I want to use the box/space to capture low angles of the projection, like I did for Sweet Tooth B&W projected that I used for my group crit /03/21 – successful and gave the audience this feeling as though they were peering into something they shouldn’t/didn’t want to watch. So with this in mind, I decided to collect a large cardboard box, see below, I worked with where the projection would sit, I cut off 1 and 1/2 sides to it to allow movement of the camera yet still enclosed enough and used gum strip to seal off any rips/cracks that any disrupt the projection or box presentation. With this I then kept the projection running so I could mark out where the projection would project on the board – I began to paint this white so it acted as a cinema screen & for the projection to be bright/clear. I really enjoyed this.


I placed in a piece of grey carpet, it immediately gave a cinema vibe. I wanted to accentuate the use of angling the camera low and gazing up, as though you’re in the front seta at the cinema watching the glorification of women being consumed – to encourages emotions of discomfort and you could see this already with the camera angle, see below. This is more a in-depth maquette in regards to the content/context compared to the structure like Kelley’s physical detail. The white screen really sets off the cinema lay out.

The cellophane was the excision part, as I have used it within my experimentation of projecting Sweet Tooth, I knew I had to continue to use it in different ways. I wanted to include it in the whole space, so you would have to move in and around the cellophane. Almost creating this sweetie wrapper feel not only to the work but the space as a whole. See time lapse below of installing the cellophane (and final images further down) – this brought the maquette together (you can also see the size of the box in relation to me).

Reflection 07/04/21: After projecting into it the images give this immersive/consuming feel, the cellophane is so close to the camera its as though you’re in it. – suggests ideas of horror films/suffocation??

It doesn’t look like much from a far or in day light but the projections are just what I hoped for. It will be good to receive from feedback from my peers/tutors on this & the photographs/films of projection that will follow.