Tag Archives: final show

Waiting for the post

I have ran out of maps.

More are coming in the post, but for the moment, making has stalled while I watch for the postman to come by with a big parcel for me. This has given me the day to think about other things – and question just how many maps I actually want to go to (so far I have 25 done). The ‘other things’ however, are also starting to get quite important, with only three weeks left for any work needed before the show build / assessment begins.

I have decided I do want to put a book of poetry alongside the installation. This isn’t going to be full on long, wordy poems, but rather a single line – a glimpse – of the memory being invoked for each of the map strings I have made. This will offer an insight into the nature of the memories being described for those who wish to know more about the work.

Of course I will have to make the book myself, it will not do to just buy something off the shelf for a exhibition of this nature. I have made some small books before, so I know the basics of bookbinding and some of the formats available. This afternoon I looked back at some of the samples I have made before, as well as some new ideas in long overlooked books off my bookshelf. And ho! I have made an uncharacteristically swift decision! I am pleased that the impending doom of the final show is at least pushing me to make required decisions so swiftly.

Some photos of the finished book model (using bright paper colours for testing the construction but skipping the outside cover). I think I will go for A5 size – twice as big as the model in the photos below. Three reasons for choosing this structure:

  1. It has such a lovely feel to it both stood up and laid down, simple yet with an air of elegant complexity. The book is after all not the main feature of my installation
  2. It allows for hidden pages, things which cannot be quite seen. I know exactly what is going on here, but I’m not going to spoil the surprise!
  3. It offers what seems to be at first glance a continuous stream of text from page to page (on the red paper in the model). Since identity is a fluid stream of discrete moments, I like this symbology.

 

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How to build an installation

So then. It is decided that I am doing an installation for the show – large scale for me, although perhaps small scale in absolute terms. I must consider there will be a dozen other students showing in the same space!

I have been going back over my research notes looking at the range of things which are possible, trying to see what resonates with the fundamental concepts I have come out with for what the installation is seeking to do. My thought is that I am using the map yarns in a way that each thread unravels a fragment of identity formed or remembered – a story, a choice, a path, a longing. The binding of the threads together perhaps can then offer a glimpse of the fleeing whole sense of self.

There are many artists working with fibre installations, and each offers a different perspective on how their materials can be transformed spatially, texturally and through form. How do I want to create an expression of my different experiences? Do I want to represent the size of impact each place had on forming my identity?

I also need to consider the number of map yarns it will be possible to make in the time we have left, and how many I would go to in an ideal world. There are not an infinite number of places in my life, so which places am I choosing? Those which have made the strongest impact irrelevant of time span?

My plan now is to do some testing which plain paper yarns in a space in the studio – check what a hanging installation could look like, what the lengths of my yarns will look like on the floor and options for building the individual strands into one whole. Oh and continue to make endless amounts of map yarn!

Show: T-8 weeks

So the show prep begins

We had our first return visit to the show space today since our brief glimpse last term. It gave us a chance to have a look around with a more discerning eye. Where are the windows? Where are the fire doors or signs which cannot be blocked and so on. It is not nearly as nice a space as the usual Designer Maker final show space – over in our other building. Yet another annoying consequence of having building works dumped on us without notice (the first being our nice studio getting demolished). Anyway, we must work with what we have, and so that work begins.

There is a lot of co-ordination to be done, but people seemed keen today to get started. We did some measurements of the room for example, and talked about a few things which need to be done. Hopefully the importance of the show will not be lost on anyone and we will have a more successful organisation that the last small pop-up show.

My thoughts are still about hanging from the ceiling, which although not quite as high as I remember it, is still about 4m high – so I can get a good amount over head height if I need to. The challenge might be a hanging system as I don’t think we will be allowed to screw anything directly into the ceiling (why have they kept old wallpapered ceilings in an art college???). I need to look into where I get wires which can be screwed across the wall, and how to go about hanging from one of those.

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Writing on the wall II

Having played a little more with the projection mapping, working directly onto my threads, I am not convinced it is doing what I want it to do. Although I like the idea of my writing being dynamic, I don’t want to be constrained into making a thread ‘wall’ just to have a solid enough surface for the words to show up on. So I had a look at what other options there may be for getting my poems materially into my work using the same principles.

I came back to Morley’s book, Writing on the Wall, and revisited the idea of literally doing that – writing on the wall. With a pen. There are precedents for this, with for example, artists such as Fiona Banner:

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My question remains though how to integrate the threads with the words. Perhaps having the handwritten poems revealed at the heart of the thread installation (written or displayed on the wall?). They will then offer my personal fiction – what impressions and imaginations can be discerned from life’s experiences – into the less subjective expression of place through the map yarn. I am happy to have the poems legible, because (as anyone who has read my stream of consciousness poetry can tell you) it won’t offer much help as to what the piece means.

My current best description is this: the installation itself will be a physical experience (big enough to walk through) offering a moment to seek an encounter with yourself. The installation will be created to reflect my personal identity through my choice of form and the places which I consciously choose as a representation of my sense of self. You can walk in to it so that I can say to you, this is my world.

My poem for today for good measure:

I lost my way in self-defence,
but panicked, and decided to find it again.
I was watching the road winding onward, but took the long way round.
There is no centre to anything

so I just fell out on the other side.
Why am I always here?
I should not have come here looking for any part of myself.
Cut the apple, says the witch, and find the sacred star
You’ll have forgotten again by morning. 

Angelique Talbot, 17:15 6 April 2016

Map weaving III

I am currently feeling oddly optimistic about my final show plan. Perhaps because I have I think at last found a coherent way to bring my ideas into a manifest piece.

My plan is to show three pieces and some accompanying words in some form (book/essay perhaps). At the moment I have the ‘making plans’ for the first two pieces underway. The third piece is still undecided – I have two different ideas which I may need to do some tests on first before picking one. The accompanying book is a whole other ballgame…this is going to need some thought, but is at least a nice way to break up the stress of making so much yarn on my fingers!

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