http://theviewergallery.blogspot.co.uk/2011/10/theviewergalleryreport-1.html
I like the multiplicity of it, and it reflects how I often make and think about moving image. I'd love to get the chance to curate more theViewergallery events and screenings to trial such ideas.
The sound will not be doubled, so the TV will play mute.
Around the wall I have decided to hang various still from the work. I always finish moving image work by taking a collection of stills, and choose one to represent the piece. However, I consider the stills to be just as much a part of the entire work, but have never really found a way or format to include them in exhibition before. Nor really had the opportunity to show work quite as I want. I feel this development will become my ideal condition for showing, also allowing for infinite variation.
The stills will all be framed differently, sizes of frames, painted black, white, silver, and one directly onto a silver or metal board if I can manage it. For me this is an ideal expression of the whole work, the dichotomy between moving and still; static and changing; digital computing and hands-on making. It freezes stages of the film and perfectly expresses the making process which itself moves in and out of cameras and the computer, stills and video, through positive, negative and both together which I have managed to achieve through lighting and solarising photographs of the printed image back into the video.
Anyone who has worked in a darkroom will know how many opposites have to be kept in mind when working with prints and negatives. I've always find the approach similar in using the computer like a darkroom, and have found many more layers of opposites, until this technique which seems to unify them. Complicated, yes, but simple also. I know what to do.
14th July 2014
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Installation plan
I have several elements to my final project exhibition Embedded:
Moving image projection
Moving image on TV
Sound on two speakers
Eleven framed stills including two remade windows
Printed book of images
In my front room which is my current studio, I can approximate the size of the gallery at Bank Street. I always trial moving image in normal rather than ideal light, to account for gallery variations, and because I will have other lighting - if it works in normal it will be great in a gallery. The only thing I am still unsure of is exact dimensions, the true shape of the gallery, and how everything will look and be reassessed in situ.
It's a fairly small gallery, and I wanted to express Embedded in all those ways.
C
B 
A
A
D
Wall A: Shelves with projector and players projecting moving image onto Wall B. Not using a screen, showing directly onto the wall (possible plastering/painting). I am considering bringing about three white plastic stools I have which I will place along this wall. When showing moving image it's good to have somewhere for people to sit.
Corner on the floor between Walls A & C: TV showing the same moving image. c. 10 minutes difference.
Wall C has a big window. Hang a still in a remade picture frame in the centre of that, over the blind there. May place a big piece of sheeting over the window, blind, and little radiator there to diffuse/block the light and obscure it a bit. I think this is the first view people have when they approach the gallery.
Wall B has the moving image projection. I have quite a lot of control over its size, and am planning not too big.
I don't know what that is on the plan at the corner between walls B and D - don't remember there being another door, and the photos don't reflect that.
Wall D: I am planning a salon hang of the framed stills. - the frames are all different sizes and types, some black, some silver, etc. I also have a picture light which I will probably put over the largest frame. Arrangement of that will be decided in the space - I have the measurements. I am expecting that the glow from the moving image will add some light to the stills, which are printed on slightly reflective paper. I also anticipate that some may be a little difficult to see, and may be partly obscured or in shadow - very apt for the entire piece, and in fact I like that - I do object to the trend toward hyper white walls and brash lighting in some galleries!
The sound will play on two fantastic little wireless speakers which I will stick into two opposite corners at the ceiling.
There seems to be a little space back in the corner between Walls D & A. I am planning to place my printed book there on a hefty music stand I have, and possibly with a picture light over it. Somewhere in that area I will also have my cards and maybe the exhibition statement, which is quite minimal and more or less repeats what I have on my postcards.
At this stage I have thought through and believe I have in place all the essentials to install and secure the exhibition. Secretly it's been a massive logistical undertaking which I hope all looks straightforward and smooth in the gallery. In 2007 I organised my solo exhibition Viewer
and in 2011 I set up theViewerGallery
I have over time set up and organised various exhibitions myself, and any artist who reads this will know what that means and how resourceful and organised I had to make myself be, especially in the circumstances of family life and nil funding. It's great - it makes you strong. In 2007 I trusted and believed that I could follow through because it was my idea and therefore it was in my capacity. I still draw on that belief when pressed. After the MA my hope is that I will not always have to make such projects completely by myself - I'd like to have something to do with the gallery system.
Looking back at my earlier plans above, I see that I have followed them through. At one time I considered not having the TV, but once I tried it out I was reconvinced. I showed a friend who can't make it to Sheffield a dress rehearsal of the piece working, and the first thing she said was that she loved the flickering on the TV. I spend considerable time in minimising the flickeryness on the old screen tech, and have it as best as I can. Actually, I agree with her - I LOVE showing moving image on TV - it seems like a transmission from another time.
Although there are many different works in a fairly small space, I feel they all support each other and is part of the entire piece. To me, each part is utterly essential and integrated. This is how I think as an artist. It is unlikely that it will ever be shown like this again, in this configuration. I made the piece from different complete works - Found Paintings, Class of Yesterday, In sunshine and in shadow, which all merge into Embedded - the framed stills and the book which all spring from and are a part of Embedded. All of these works could have an art-life of their own. I love the multiplicity of that, and that for my MA exhibition it is all in alignment.
This is it for me - this is how I make works and projects now, with satellite pieces which can be shown separately according to circumstance, and the entire installation which changes each time it is curated.
11th November 2014
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