My work was called Holding ..... out or up or on or back or forth or in. The work was an assemblage of digital image on board, bar stool, android tablet showing video (2 mins loop), sticks supplied by Moccas jackdaws. I had a very useful tutorial with tutor Jonathon ...
I shared my discovery of the word "slipshape" [as opposed to "shipshape"]. This word imbues a sense of slipperiness/fluidity. This feels pertinent to both the interpretation and the visual qualities of my work.
Am I trying to trip the viewer up? I see it more as making an "offering" to their creative minds. It is a conscious choice that I make.
My next steps are about developing this approach.
I wish to create a "visual feast", something to draw in the viewer.
Objects not being quite where they should be, definitely.
I will re-visit Jane Bennett's Vibrant Matter.
J reminded me of the globe at the window that I made early on in the year ... what was the subject and what was the object ? ... I really loved that juxtaposition ... it created many interesting questions in my own mind.
How can I make work that interacts with other's work in an exhibition?
How do I make it challenging/interesting/exciting in a group exhibition?
NB The Thebes exhibition by Benoit Maire [that I viewed in December 2018 at Spike Island, Bristol] I feel holds the key for me. In particular his use of placement of paintings within a space, and his placement of found and made objects in relation to each other and the architecture of the space.
I feel that I want to make my own distinctive work, yet I want my work to "work" with both the space and the other artwork.
I feel that to achieve this my assemblage needs to be as free as possible, to be independent of walls, electric sockets, to be capable of infinite possibilities of placement within the allocated space.
This will allow maximum flexibility on how I can stage the work to interact with others around it and the contextual architecture of the gallery space.