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Exhibition Overview: “un//covered” at King St Studios

22-25.11.2019 – an exhibition co-curated through UNA where I also exhibited my work.

So I won’t talk about the actual co-curating process here.

But I would like to make a note of a couple of observations and lessons I got from the experience as an exhibiting artist.

Most of the notes have to do with the actual setting up of my work:

  • using a cotton glove really helped with keeping as much of the charcoal on the paper, as possible, kept as much of the natural oils form my skin as possible so it wouldn’t affect the drawing as much
  • had to adjust the position of the drawing a couple of times – the horizon line should be kept at eye level which I was used to before, but wanted to try something different this time – but the original idea was better
  • I noticed that the drawing became FAINTER and LIGHTER than I originally remembered it to be
    • is that what my drawings will do over TIME??
    • ESCAPE?
    • FADE AWAY? – would be very appropriate actually! the very reason I have chosen to work with such unstable, unsettled and unpredictable material
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Testing to see which method worked better
  • I was also trying to display my drawing process alongside the drawing – as inspired by “The Long Look: The Making of a Portrait” AUDREY GRANT exhibition in Edinburgh – the original idea was to print out 2 A3 pages of all the progress photographs and put them up on the wall to the right of the drawing – but the white of the paper didn’t work at all – I tried different combinations as well – 4 pages of A3 to make the photos bigger so that the viewer could see more detail of each – but that also didn’t work
    • and then Núria suggested that I could display the process video for that drawing in the first exhibition space which was dedicated to digital art, as it was a ‘darker room’ – this worked so much better than I could have imagined it to be and it really tied the two rooms together – the fact that it was displayed on a screen, enlarged the photos and made them clearer – so it was so much better for the audience to actually see what was going on – perhaps my process photos of the drawings aren’t meant to be inspected individually but work well as a rather moving whole?
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Displaying my process video in the dark space

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