Crits and curating the 'Interval' exhibition. NOT FIN

 Scale

Whats on the board/ relevance / the artists studio / 

development / process 

In the crit I talked about how I keep old work close for reference in terms of both medium and context.  I removed some works from the board to reflect what was recent and what I felt was resolved but was still talking about relevance of connections and understanding and how my line of enquiry was progressing 

It was suggested that I lift the board and instal the studio wall into the exhibition space.

 We took an unused board down with the intention of cutting it in half to curate it over a smaller scale, but in the space the size worked well so we decided to work with the space.

 

I started with masked sections removed from my easel and worked across a bench and then over the wall to group and display work.

The display board in my studio became bare and I felt homeless and un grounded without it.

Working with our MA-CAP group.

In the morning I'd brought an old fish tank in for Kite, who'd been concerned about the curation of the work in a public un-invigilated space, with the intention of it serving as a protective display casing but this changed Kites thinking around the work and it became part of the work in terms of her sculptures being specimen species, with conversations about differences, behaviours and audiences. 

I was really chuffed to see some of the approach I'd encouraged in Joes work find a place in his exhibition - really excited for this!

The 'We could be witches' exhibition was extended so I shared again on insta and looked at some of the artists exhibiting to see what connections I could make.  I'm really taken with the exhibition, in terms of how people have made work, in reference to nature.