INSTALLATION SHOTS FROM DAYLIGHT SAVING
IN THE FORM OF FORMATTED CATALOGUE PAGES –
CATALOGUE ONGOING @ tinyurl.com/DAYLIGHTSAVING
Now it is odd to consider the end of this, the installation seems to unsubstantial next to all of the research that has gone in to it. A few people have mentioned how well executed the work was, and I guess this is to do with how long I had considered the actual hanging of the work – it site-specificity seems to rule the roost as it were, rendering something that is inherent of the space and appreciation of it. It is also credited much to the other people involved.
What happens now:
There shall be a short talk next Wedesday, 4th November (6.45) in time with the Artwalk in Leeds. From then on the work will exist in its online catalogue form.
What I have started to do is format the images and installation shots, as well as other content and texts into the same page-layout. This will then form the basis and consistency of the online presence, in which the exhibition eternalises itself. This allows something to be edited, retreating from the idea of setting something in stone after its consolidation, keeping it edit-able and updatable as we see fit.
This will also forward the working partnerships between the three artists that have been involved in the project: allowing for more contribution and mutual conversation between concepts and ideas.
I for one am watching this space, as well as having a lot of fun with Illustrator!!!!
Creating a fiction and transposing the form of an idea
Recent goings on in the church spire, bell tower communications, television rooms, clock-services/maintenance and the FINAL DELIVERY: I expose the words final delivery as the television, wrapped in its cloth gets transited from the top of the tower to the altar flats, and this transition is the very subject of the installation – how did something get from one place to another, how did an idea change, and what hold this idea.
These photographs are documentation of a recorded act, a staging process in preparation as well as in subject making for the final display. The documents will also further the work, setting it beyond its physical appearance: the documents will be catalogued and this will be how the work exists from then on.
This blog helps with such a process –
I now deposit these as finished products.
Now the question is how do I negotiate the exteriority of the building, do I reference this or does this change the idea yet again. Perhaps a drawing from observation would be more appropriate and interpretive than a snap-happy photograph.
To consider how something is sampled and transferred. How spaces are animated through interaction and interference. These images are taken in the bell tower of the church in which an exhibition shall be realised: the arena here is situated below the clock tower and above the rest of the tower as it climbs. To introduce equipment requires introduction of light and electricity to navigate the tight winding stairs, yet once you are there, you have things set up it is like a studio in which to experiment, cross-reference and “draw” with your ideas and your tools.
This is where the television has been stored, along with its white tablecloth – collecting dust, but still functional when someone returns. In the non-space that that provides height enough to make a spire visible within the cityscape, is where these activities happen, where samples from the public altar are brought from below and toiled over.
Eventually the re-samples will be brought back downstairs for the exhibition: in time for public display. The former space is the rehearsal place, the “stage” is the exhibition itself where objects and formulaic display cross-reference and act out their animating conversation.
Getting to think about how a drawing can both be an instruction to the research in to something made, presented – animated-projected-displayed-laid out: this conference between note book, photocopied page, photograph and BLOG, is paramount to the working of an artwork. The drawings can be and are sometimes indeed developed through turning an original instruction / plan over, tracing through from the other side and beginning to think of things differently.
Complicated plans then become simple visual integrations, on the page, how they fit on the page, how they transfer from one mind to another – one stage to another and from one thing to the other. A progression of a piece comes from the re-negotiation of a church floor plan, how the installed work will eventuate in the time and place, in which it is installed – this is reflected in the paradigm of re-making a drawing, from a previous conversation between notes / doodles – this drawing, in anticipation of the project, then confronts another time and place.
This is an image shown in its both sides. It’s both instances. Its progression thus.
And MEANwhile: another church project continues, and is soon to reach fruition. Holy Trinity Church, Leeds is to hold three pieces (possibly fore pieces) of work later this month and running into November, in time for the seasonal change and also the adjustment in time-keeping.
The time will shift and so will the appearance of the interior.
here is a research drawing i have been working on: a drwaing that will also be displayed alonsgide that, which it is actually depicting
call it pitching the final display (which i am actually looking forward to, the finality of things will hopefully be more fuild than the path of researching the site)
