michellechanbcu

[michellechanbcu]

Final Exhibition Display

This is the layout for my final exhibition show; six grey inconsistent level plinths displaying my ceramic pieces with a real life fossil and seashells for reference. I’m happy the exhibit turned out amazing when all the components are placed together and my chosen themes of natural forms, ceramics, haptics and Giant’s Causeway seem to work well as one.

When arranging the plinths around it was quite tricky to decide where each table should go as I must consider that audiences will be walking around my exhibit instead of a single direction. I also focussed on how the public should view my work from different perspectives; they need to see the pieces on the short plinths as the tall ones dominate them as well as being aware of people walking past and accidentally bumping the plinths. The result of the formation is the short plinths are standing outside with the tall tables around so they won’t tower over each other and block the view.

The various levels of the plinths worked effectively to give my 2-dimensional tiles height and easier to see some embedded patterns from above. I feel the grey paint for the MDF board could be slightly darker to closely resemble the basalt columns of the Giant’s Causeway, however the tone was chosen by unanimous vote and it was going to be used by the whole class so I can’t complain.

For the Don’t Touch sign I recently changed the text to Please Don’t Touch the Ceramics to resemble traditional rules and signs in galleries and exhibits and notifying audiences to specifically touch the artwork and nothing more. The Don’t is intentionally highlighted in red to show my pieces aren’t restricted and I allow the public to have free rein of my work. I was a bit concerned when Hannah asked me about the sign, making her think twice about touching them until I said she was allowed and that the signs may be too large to attach on the plinths. I could place the paper on the legs or on the ground so not to appear overpowering and I’ll ask my other classmates what they think about the message as I might change it depending on feedback.

To help people understand my final project, I gave my project a title called “Haptics” and wrote a short description detailing the context of my work and my display. I hope with this audiences would connect with my ceramics further besides letting them interact and engage with the exhibit.

For the main attraction, I’ve finally decided that the round circular ceramics will be showcased in the final show instead of the square tiles. I felt the straight orderly shaped pieces don’t match with the theme of nature and texture; I thought the squares would be appropriate for people to pick and hold securely in their hands yet they look bulky and barely show the use of human hands/haptics involved.

One thing I could improve on was include more colour and glaze into the ceramics because most of them look very plain. I didn’t want to add lots of glaze in case it empowers the textures with a smooth glossy finish, especially small embedded detailed patterns. Only the natural tones like green, white, beige and cream were used to link with the natural form theme but I should play with more colours to add variety and style to attract more attention.

The perspex box I received from Shiqi was helpful in enclosing the organic materials from the rest of the exhibit to encourage audiences to turn towards the ceramic pieces instead. But during the set up, I was told the box had distinguishable scratches in several places including the lid which was impacted the most. I tried removing the lid and flipping the box upside down however the marks were still visible on the acrylic and I was advised the box shouldn’t be in the display because it contrasts from the ceramics and serves no purpose in being there. Since I incorporated some signs specifically asking the audience to touch only the ceramics, it should be enough to let others know they need to focus on the actual artwork.

When choosing the seashells I purposely chose an assortment of sea life with unique looking surfaces so none appear the same to each other, with the large fossil included in the case because of its scale that people will be fascinated by it apart from the faint detailed pattern along the surface.

To display my work as an interactive exhibit I took some photographic evidence of my classmates viewing and touching the ceramics. They were able to walk around the plinths successfully without knocking into them and have clear access to all the tiles from the inconsistent plinth heights. The various levels of the plinths appeal to many people in different height groups like a tall person can see the entire display from above while a short person can see my work from the lowest plinth. The round shape and thickness of the tiles is also an advantage for audiences to securely hold the piece in the palm of their hand and prevent slipping off due to the rough surface texture of fired clay.

Overall the final space looks spectacular and I’m proud to produce my own style of work that I hope other people will enjoy too.

[michellechanbcu]

Construction of Plinths

This is the manufacturing process for my 6 plinths that will showcase in the final exhibition and support my ceramics project. Everything made was done in the wood workshop to gain access to machinery and power tools as well as assistance from the technician. With the materials already delivered to Margaret Street, I tell Charlie my plans for the 6 plinths by giving him measurements for the base, legs and skirts of the tables and he drew a rough diagram of how the finished plinth would look like before beginning to cut up the materials.

The measurements on the left (60cm - 110cm x 4) are for the legs while the ones in the brackets are the MDF surface area. Charlie left the skirting until later as he needed to measure the timber thickness and how this will interlock perfectly together.

As the timber planks are very long, Charlie used the circular saw to quickly cut the material since there’s so many components to put together.

Once all the pieces are cut, I begin making the base by drilling the MDF board and timber skirts together. As the screws must be hidden within the wooden board so not the stick out on top, I used a countersink which widens the hole slightly for the screw head to rest in the MDF but I will need to fill it up with Polyfiller so the gap isn’t noticeable.

Next the legs are attached to the base from underneath and I made sure each leg is positioned symmetrically to one other and is close and flat to the skirt as possible. I felt the plinths were wobbling slightly which affect the stability of the table but as I’m applying another skirt at the bottom of the legs, the shaking would lessen drastically and the weight of the ceramics could reduce it also.

With all the plinths made, I can start filling the gaps in the MDF with some pollyfiller and sand away any rough edges and splinters before coating the surface with a white primer. This will protect the board from soaking up the paint and provide an even layer when I apply the grey paint later. Everyone was told to paint their plinths and boards grey for a neutral appearance that help make our exhibition stand out, but it is also good to me personally because I’m relating my display to the Giant’s Causeway which is a rock landscape so it works effectively.

Overall I’m very happy how my plinths turned out especially I’ve given all my skills and experience learnt in the workshop for the past 3 years to make them on my own. Some plinths still felt wobbly when testing their stability but I can put some carboard or masking tape under the legs/skirts to prevent this. Though the plinths were tiring to structure from scratch, I have found this process very therapeutic when you follow a repetitive work pattern and I would like to continue this in the future as a possible artistic profession in production.

[michellechanbcu]

Exhibition Display Tests

Since talking to Andrew Lacon about different display methods, I needed to start experimenting various layouts that will appeal to audiences and somehow encourage them to interact with my ceramics. The first idea was barricading the real life seashells I used to produce my tiles in a perspex box; an indication that the actual objects aren’t available to touch but is a reference to my work on what materials I played with and their connection. This idea is based on traditional gallery spaces where fragile and ancient objects are protected behind a case and a fake replica is left outside for the public to touch as an alternative. I like how the box gives my display a professional look especially with the seashells bringing more colour and vibrancy to my earthy ceramics.

Applying a display case to my exhibition provides an endless mix and match selection of seashells I can arrange. I’m reusing the seashells from my ceramic making, each uniquely different to the others and only the non-cracked, best looking shells will feature in the box. My favourite are generally the ones with pattern along the surface and harmonious tones but I can only choose a handful as the perspex box measures 20cmx20cmsq so the interior is limited to hold loads.

Also with the case, I noticed slight scratches in certain areas like the lid and the base, however it was bound to happen as the box is plastic and I’ve borrowed it from a classmate (Shiqi). If I remove the lid, tip the box upside down and wipe the surface with a cloth it could look as new again.

Thinking the box alone won’t be enough to encourage people to touch my ceramics, I also considered applying a Don’t Touch sign with the first word crossed out; an opposite approach to traditional galleries and exhibitions where observation is allowed only. As ceramics is a delicate and fragile material to handle, the public instinctly become cautious to not touch them because of these properties and they risk damaging someone elses work. However I want to experience an artist’s work through different perspectives other than looking to gain better connection and I want people to feel the same especially with my project. (The sign would look more formal near the deadline).

Lastly I tried arranging my tiles with all the squares on one plinth and the circles with the other since I can’t decide between the two should I keep. I considered my previous QRS meetings about how the square tiles look like they belong in a bathroom because of their shape, in contrast to the circles with cracked edges providing extra texture apart from changing the way we see ceramics as smooth, symmetrical and perfect form. Thinking about this made me choose the circles in the end because in links to my theme of nature and haptics, I should be making ceramics to their most basic and simplistic form and naturally create the shape by hand instead of forcing the clay body into a neat idealistic structure using manmade tools.

Overall I’ve decided to work with the perspex display case to house the fossils and seashells, add a Don’t Touch sign to inform the public they can pick up my ceramics and only display the round circular pieces.

[michellechanbcu]

Artist Study - Helen Hay

“My work reflects my life in Kanimbla Valley, from the wonderfully misty layering of landscape, to the flora & fauna that I see on my hikes. I love to collect different things to imprint into my clay, such as seed pods, leaves from my vegetable gardens and things that I find lying around in the forest. Kanimbla Clay was established in 2009, and I began to sell my work at local markets. Interest in my product grew as I attended larger events such as The Finders Keepers in Sydney, and gained exposure through publications such as Country Style and Home Beautiful magazines. I work with porcelain and stoneware clays to produce homewares, lights and jewellery. Each piece is made either on the wheel, slab built, a pinch pot made from a ball of clay or slump mold.”

Much like the other artist studies such as Tony Cragg, Kate Robinson and Chris Gryder, I’m attracted to objects with texture especially with Hay’s ceramic pots and the process she uses to achieving her design is exactly the same as my own. This contemporary designer uses nature within her surroundings of Kanimbla Valley to produce detailed natural form prints into her work which is what I’ve been similarly forcussing on myself with seashells, fossils and plant life. I thoroughly enjoy the pattern made by the leaf in the photo as the texture almost resembles cabbage leaves and it has brought out some amazing results.

I also like how Hay positioned her picked leaves in the centre of her handmade ceramics to focus more attention to the pattern over the plain, smooth neutral background as I’ve done to my clay tiles in the final project. Seeing this makes me want to reintroduce the cabbage leaf for the show because of the lack in plant life I used; I only have the Boxwood bush leaves from around university campus. The vegetable leaf was experimented on but not developed further so I might look back on it again.

[michellechanbcu]

Final Collection

I finally got to see the finished results of my possible final pieces and they all looked mesmerising. I’m glad none of them exploded in the kiln because I felt the clay I used at the time was a bit stiff but they appear perfect. When I separated the circles from the squares, I found the round tiles had an appealing aesthetic than the straight quadrilateral; though the squares have a larger surface area enabling to see the entire pattern, I liked how the circles have their own individual character because of the cracked edges and misshapen form that differentiates each other and it makes me want to feature the whole circle collection instead of the squares.

While inspecting the fired pieces, I forgot to include some of the cabbage prints into the series considering they were successful in my previous experiments. At first I tried to use my existing ceramic cabbage piece (left) to recreate the prints on the squares but they never looked captivating as the round form, until I realized I had to use the plaster cast that got me the fascinating pattern before so I firmly pressed a lump of clay to the mould which help raise and define the design a lot better.

Once they’re thoroughly baked in the kiln, I will choose some of the pieces for further development into glazing and reflecting back on the glaze test before, I would use the same mint green, white heat matt and possibly a beige tone to add an array of harmonious colours for my work and depending if they turn out  triumphantly I will include them in the final show.

[michellechanbcu]

Possible Final Pieces + Results of Other Fired Pieces

After receiving feedback about tidying the tile edges and choosing between them or the rough circles, I began making a new and possible final series of ceramic pieces before the final show and the closing of workshops in two weeks. At the time I was still torn between either of the shapes that will accompany in the show so I decided to create a variation of both and picking the best seashells I’ve experimented in the past with none looking the same.

From the meeting someone mentioned about focussing one specific area of the object to get impressions of instead of the whole body which I find it works well as an abstract pattern yet it is made from a natural source. With the edges I simply used a knife to carefully straighten the sides based on my sight and smooth them down by applying a wet sponge.

I was able to see what the glazed experiments looked and there is a massive difference to how I imagined: the Ivory beige glaze turned white on the fossil tile and the tiny shell looked glossy from the transparent glaze but I can still touch feel the textures, which is good because I became worried the glaze would smoothen out the important rough patterns.

The Mint green leaves is my most favourite of the all because during the last attempts the glaze was too watery and never stuck to the ceramics but as I applied a couple coats using a paint brush, it formed a subtle yet matching tone to the plant life. The white heat matt glaze on the clam shell is my second favourite because even though the colour hadn’t attached itself to the surface I like the small amount of sparkling white to give some shadowy effect. I might want to remake the top pieces again with smoother edges and glaze them to incorporate with the main series.

I gathered the ceramic fossil halves that were previously broken until I tried Claire’s idea of glazing the centre of the components to permanently bind the pieces together and surprisingly the method works. Unfortunately the cracks created from combining the parts are still visible however the glaze isn’t noticeable so I might consider adding them to the exhibition.

[michellechanbcu]

QRS meeting

Test out display ideas --> Record and reflect

I mentioned talking to Andrew Lacon about display ideas (see previous Tumblr post) and they agreed I need to test these out on the public and my classmates to get a thorough response of how to encourage audiences to engage with my work.

Resolve the form/shape of the ceramics (choose between formal tiles and unformal circles/tidy up edges)

Throughout the project I’ve been making two types of ceramic shapes to form natural form impressions; the straight edged tiles and round cracking circles but as the end of year show is looming I need to make my final decisions to which I want to develop further. Also my tutors noticed the tile’s edges aren’t level, smooth and tidied as some appear curved and rough so I need to fix this soon.

Tiles

Pros

Neat professional look/Formal for final show

Easy to handle

Less cracking/clean finish

Cons

Square shape doesn’t fit with natural form theme

Shape suggests they are installation on the wall

Thin layer (could split from pressure)

Circles

Pros

Ceramic form fits in the theme

Fits in palm of your hand

Cracked edges apply more texture to pieces

Cons

Unprofessional look

Easily unnoticable/small size

Prone to cracking/splitting after firing

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What/Why/How can they operate?

What: interactive/functional pieces to get people involved with the exhibition incontrast to traditional museums, and give an insight to how I’ve engaged with the material through haptics

Why: Most exhibitions generally let people observe and read descriptions of artists’ works but not allowed to touch as this could damage the valuable pieces, and my aim is to do the opposite to apply different perspectives as well as encourage people to connect with clay especially they come from the ground of which we walk along for thousands of years

How: Use plinths/display to present work, apart from each ceramic piece containing a variety of textures to try out using fingers. Some might be difficult to touch because of their small size so a spotlight could luminate the piece instead

[michellechanbcu]

Andrew Lacon Supportive Talk

I had a discussion with our contemporary supportive tutor Andrew about my work and how my project will be presented in the final show. I metioned having some difficulty coming up ways to show my work is interactive to the public and there were a few options I need to test on as soon as possible:

1. Perspex Display Case

The original object used to make the tiles will be displayed in a case and off limits to the public to touch but the ceramic pieces that have replicated the textured surface from the organic life form are accessible. Both items are positioned side by side to easily identify what pieces were inspirational to my project and hopefully encourage audiences to try handling them.

2. Gloves

Gloves may persuade the public to wear the protective gear and pick the ceramics up because on instinct we learn not to touch things inside museums and galleries as they’re fragile and historical. However I find gloves forms an obstruction from the object and the person due to the thin rubber layer, reducing the experience to feel different surfaces.

3. “Don’t Touch” Sign

As many museums and galleries express people not to touch the exhibition with a sign, I was suggested displaying a sign with a contrasting response such as the traditional “Don’t Touch” phrase crossed out, “Interaction Zone” sign or a small artist bio/statement about my project to immerse the audience of my intentions. If I choose to follow this method, I need to accept that constant handling would eventually produce grease/moisture/bacteria from fingers and hands or an accident waiting to happen if people aren’t careful.

Below are some examples of interactive displays I can reflect on to help decide for myself:

[michellechanbcu]

Risk Assessment Form

This is our final risk assessment and proposal everyone needs to write up explaining what we plan to make and how are they installed and dismantled during the end of year exhibition. We have to also include equipment and materials that are being used in the show, the possible hazards they could being to people, the control measures and risk levels to prevent these threats from occuring.

Details regarding the installation of the work: include information such as, do you need to use ladders or scaffold tower, will you need to use power tools or electrical equipment, will you use any potentially hazardous materials etc…

I will be making 6 plinths made of MDF board and Timber planks and I require the use of power tools and electrical equipment such as a power drill, band saw and vertical panel saw to assemble all materials together. The process will produce saw dust which is bad for inhalation if not properly ventilated so the construction will be done in a workshop, and I will need technician supervision for health and safety precautions.

Details regarding the work, and its safety for access /viewing by other students/staff /public: include information about use of electrical equipment, sharp or hazardous elements or materials etc…

Once the plinths have been made, they will hold several ceramic pieces on the surface but the table’s structure and stability must be tested as my work could fall over causing ceramic dust to form and possible injury to visitors. These plinths will also be positioned close together and located in the middle of the exhibition room so there is less chance for injury and the tables falling over.

As I’m applying an interactive feature to my exhibition, my pieces are allowed to be handled by audiences but I will include a sign warning people to be careful when holding them as they’re fragile and could be harmful to health.

Dimensions: Each plinth will be individual heights between 60cm – 110cm, with two surface areas being 30cm x 30cm and four at 25cm x 25cm

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Details regarding take down / removal of work: include information regarding use of ladders or scaffold, how you will dispose of large quantities of materials and anything with specialist disposal requirement etc…

The plinths will be carried out of the room by hand to either be dismantled for spare materials in the workshop or leave them for other students in the future. My ceramic pieces will be carefully placed in a box to be taken home by me for future use.

Please be aware you are responsible for the take down of any exhibition/assessment and the removal from site of materials you have brought in.

[michellechanbcu]

Glazing Pieces + Fired Ceramics

I’ve constantly created many ceramic tiles throughout the project that I never got to try glazing them until now. I only chose colours that closely resemble nature based on the named containers such as White heat matt, Mint green, Transparent, Ivory beige matt and Transparent mid but their tones might alter when fired. In this test I’ve also tried out different methods and tools to apply glaze that would give a consistent layer only on the bad pieces so I can concentrate on the best ones later. Methods/Tools used:

Paint brush

Dipping

Pouring

Sponge

I feel that dipping is always the perfect option to achieving an even coat while the others would leave very patchy areas depending how many coats of glaze you apply, however if I wanted parts of the shape to appear darker like shading it could look good. Whether the glaze turns out well or not, I probably won’t use them especially on the small seashell impressions because I believe this could envelop the raised texture and replace it with a smooth finish.

The new series of ceramics were finally fired and they all appear much like the other versions before until I found the fossils and large shell piece broken and chipped. Claire told me the fossil halves from the vinyl mould and the clam shell still had air bubbles inside so they exploded in the kiln. Luckily the technician suggested coating the fossil’s split sides in glaze that will reconnect the components together and they obviously need refiring again so I can’t see the finished result until later. For the clam shell I simply used strong glue to reattach the small chip and thankfully the rim covers the ceramic base to prevent audiences from seeing it.

[michellechanbcu]

Changes to Final Display

I received some feedback on my exhibition proposal and I was told to make some minor changes to the number of plinths I requested. My initial plan was to construct 12 plinths but considering time remaining left until the workshops close and myself doing all the making it would be impossible so I was limited to 6-8 plinths.

Then I quickly calculated the ideal measurements of my plinths to form a cutting list to give to the woodwork technician Charlie and order materials. Since the proposal I originally wanted each table height to range from 50cm - 110cm and the surface area around 12cm - 20cm sq, but I imagined the final outcome to look very small and possibly vulnerable to falling over so I altered the measurements slightly to prevent these issues:

Plinth Surface Area: 25cm - 30cm sq x 6

Height of Plinths: 60cm - 110cm tall

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Once I’ve finalised the designs, I referred back to the material prices in the workshop to see how much they cost and if the sizes are large enough to build the platforms. I chose to use either 9mm or 10mm MDF sheet as the material is relatively strong and dense to intense manufacture, and 2″ x 1″ thick Timber because it is an attractive wood and is a recommended material for making plinths.

As I thought to create 25 x 25cm sq x 4 and 30 x 30cm sq x 2 plinths, I knew one MDF sheet would be plenty to cut my tables because they’re very small but I need to talk to Charlie about which thickness is good for woodwork (either 9mm or 10mm thickness):

MDF - 9mm (£20.15) - 8 x 4 ft = x 1 / 10mm (£19) - 3050mm x 1220mm x 1

Timber was the trickiest to calculate from feet to centimetres and combining the legs, the skirt/apron and box stretcher of 6 plinths. The blue highlighted box on the top page are the leg measurements each being slightly taller and shorter to one another by 10cm. One foot equalled to 30.48cm so I made sure the measurements are accurate when converted, overall being 66.92 ft but I rounded this to 70 ft as the nearest whole number = £16.80

For the skirt/apron and box strecher, two parallel sides will be the same measurement as the MDF (25cm and 30cm), while the other two will be slightly smaller (20cm and 25cm) considering the one inch thickness of the Timber on both ends (1″ =  2.54cm x 2 = 5.08cm). The overall sizes came to 38.08 ft but to the nearest number would be 40 ft = £9.60.

Timber (£0.24) - 2″ x 1″ per feet = x 110 feet = £26.40

Entire cutting list of MDF and Timber = £45.40 / £46.55

I’ve booked a workshop session with Charlie to discuss these measurements and hopefully begin the assembly soon.

UPDATE:

I recently talked to Charlie and he pointed out the cost of Timber would come to £64.32 not including the MDF as I was looking at the old price list. The technician also told me they were having trouble with their suppliers on delivering Timber so I can’t start making until I receive an email about it, but luckily I was able to cut the MDF squares and only charged £8.39 for using the required amount of material I needed and not the entire sheet.

Overall Price = £72.71 (My uni account might not have enough funds to cover the payment but I don’t mind paying bit extra since the rest was free money)

[michellechanbcu]

Cardboard Mock Ups

Previously I arranged some plinths around the room to get some idea of how I want my display to look like, but since the existing plinths from last semester were quite limited to achieve the design I created some cardboard mock ups of the space and several tables with toothpicks as legs. The overall appearance of the plinths would be an open cube format, the same as the existing plinths from before to apply an light and open space feeling within the exhibition atmosphere as well as a way to connect with other people’s work.

1. 12 Plinths

The first idea i had to begin with was gathering at least 12 plinths together in the centre of the room, all made in various heights to resemble the Giants Causeway. When I see the full scale of the installation, i notice the process of making the entire display would be tedious especially all workshops will close in the next few weeks and making 12 plinths on my own is already a challenge. Even looking at the mock up display, the plinths immediately appear cluttered and over-the-top trying to relate with the famous monument, which also brings difficulty to audiences trying to peer and reach at the ceramics in the middle.

2. 6-8 Plinths

Since 12 plinths was a large number to handle, I split the amount in half and thought the size would be manageable to construct as this will put less pressure on myself. Though the layout will look smaller the audience would have the chance to touch the ceramic pieces and they won’t have to worry about knocking or tripping over plinths as they’re positioned tightly together.

3. 6-8 Plinths Spread Out

I find this layout detaches my ceramics as a series and loses the focus of Giants Causeway, however the wider the exhibition space enables more audiences to view each piece individually. Although I’m nervous someone could walk into a plinth that causes a chain reaction  with the others so I won’t consider this safe.

4. Straight Line

This orderly display would look amazing as to clearly see the ceramics from many perspectives as well as standing close together but if any gaps in between the plinths were decided I worry the structures will cause a domino effect much like the contemporary art exhibition in The 14th Factory in Los Angeles where a woman fell while taking a selfie and destroyed valuable art work. It may be a potential health hazard and risky layout for artists if not extensivelyy thought through properly so I will leave it.

This is the article detailing the incident: http://time.com/4858769/selfie-museum-damage/

After some consideration I prefer option no.2 as making 6-8 plinths sound more realistic plan and easy for myself to follow especially it is my responsibility and time to construct them. I like the formation would keep my work close together and prevent from tipping over as well as relate to my ideas of the Giants Causeway, however the audience might not know about it so I need to find a way of expressing my proposal to them.

[michellechanbcu]

Continued Series of Ceramics

While my other ceramic pieces are drying, I wanted to continue making more pieces from the seashells I haven’t used previously, such as the large clam shell and other natural objects my mum helped me obtain. I formed the same neat and even square canvas to press the subject in the material as well as the reversed 3D versions on the round messy and cracking circles. However the clam shell was slightly challenging to form impressions because of its enormous size and the curvaceous body could create an uneven print in certain areas so I resulted in rolling a large ball of clay to firmly cover the shell’s surface until a bowl is developed.

The gigantic clam shell is definitely the most attractive and mesmerizing natural object I came upon considering seashells are commonly small and I want to display the piece in the exhibition as it could draw attention from the audience. The rest of the series is more the same as before but I plan to gather all the components together and decide which is best for the show and which isn’t so I can start experimenting with glazes.

[michellechanbcu]

Final Exhibition Display Ideas

For my display I wanted to place my ceramic pieces on plinths, each at various sizes and lengths based on the Giants Causeway in Northern Ireland and a home to fossils and seashells near the coast. Originally I planned to present my work along a long single plinth/table but I thought the installation would appear flat especially my tiles are 2D so multiple size plinths could make the exhibition interesting. During the QRS meeting, I was asked how this would effect the work and message I’m conveying and this got me thinking about alternative display methods so I need to experiment this field.

1. Plinths close together

With the plinths bunched up they already resemble the Giants Causeway and the ceramics being close together, audiences will know the pieces are connected and have similar themes of natural forms and patterns. But to relate the monument further I could paint the MDF and timber in grey to look like rocks and bring different perspective of my work. The display would also include a sign implying the exhibition is interactive to engage the audience to touch the pieces, with some plinths appearing empty to give the public a chance to design the space themselves when placing the ceramics back.

The problem with the plinths arranged together is the possibility of knocking into them considering the structure lacks support and having at least 12 plinths so close to one another, the audience can’t reach the tiles in the middle unless the taller plinths stay inside. This could become a health and safety hazard if someone attempts to take them from afar so I may reconsider the enabling of interaction.

2. Separate plinths

This would put distance on my pieces as well as contrast away from the subject of Giants Causeway, however it provides a path to enable audiences to move around the exhibition and gain access to all the ceramic tiles. The issue of having several plinths apart from each other would be accidentally walking into them or being unaware of bumping the sides and possibly creating a domino effect. Presenting this type of display can appear abstract to my entire project but will also have consequences.

3. Straight line

I never considered this formation before but in my opinion it has a professional and artistic look to them especially ranging the plinths from tallest to shortest. This is possibly the most simplistic display but it’s also the easiest to set up for the audience to observe and interact with my work without having any obstacles getting in the way, although I’m worried about the plinths being knocked over like the second layout design and the display has no connections to the Giants Causeway so I might leave it for a while.

Workshop Material Prices

I visited the wood workshop in Margaret street to get an idea of material prices and this is what I found. Each size varies in price but considering the ideal dimensions of my plinths range from 12cm - 20cm square for roughly 12 tables I might just require the off cuts from the curation team or from the workshop itself if any available. If not I will simply buy materials from Charlie or find other alternatives online such as Wicks, B&Q, Homebase and other hardware stores.

4. Classroom Floor

My tutor suggested another display idea like placing the ceramics on the floor which I thought was a good alternative as fossils and seashells generally originate from the ground apart from clay deriving from the earth. Audiences would have no problem being concerned about plinths tumbling over however they might disregard or become unaware my work is on the floor and suddenly step or kick on them, unless I install a sign notifying this. People might also avoid engaging with the pieces because they’re on the floor and not stating my intentions for others to play with them, but to confirm this I need to conduct a test on the public to gain their perspective.

Considering this layout made me think about Richard Deacon’s floor installation near Ikon gallery where pieces of plastic are embedded within the pavement, which I believe the artist is expressing our lack of attention to everyday problems such as plastic dominating and damaging the earth and inserting them into the floor becomes camouflaged that we never take notice until we look down. I feel that if I follow Deacon’s ideas my work would have the same or similar impact but I need to carry out some tests first.

5. Along the wall

Surprisingly I find the ceramic tiles works effectively against the wall because they’re presented at eye-level height which is perfect for audiences to observe clearly, and with the pieces standing horizontally the ceiling lights create a dramatic shadowy effect detailing the natural patterns. Though the public would view my work it will prove difficult for them to pick up the tiles and lay back in the same position in case it falls, but the concept isn’t bad.

I will need to review all these ideas first as well as construct a mock up plan out of cardboard to get a sense of how I want my work displayed and how it effects my context.

[michellechanbcu]

Artist Study - Franz West

From abstract and interactive sculpture to furniture and collage, Franz West’s oeuvre possesses a character that is at once lighthearted and deeply philosophical. Belonging to a generation of artists exposed to the Actionist and Performance Art of the 1960s and 70s, West instinctively rejected the idea of a passive relationship between artwork and viewer. Opposed to the existential intensity requisite to his performative forebears (such as Actionism), he produced work that was vigorous and imposing yet unbounded and buoyant. In the seventies, he began creating compact, portable, mixed media sculptures called “Adaptives” (“Passstücke”). These “ergonomically inclined” objects were actualized as artworks only when touched, held, worn, carried, or otherwise physically or cognitively engaged. Transposing the concepts engendered by these formative works, he explored sculpture increasingly through the framework of the ongoing dialogue between viewers and objects, while probing the internal aesthetic relations between sculpture and painting. Manipulating everyday materials and imagery in order to examine art’s relation to social experience, West revolutionized the interplay of concealment and exposure, action and reaction, both in and outside the gallery.

Untitled (Large Sculptures), 2009, Almine Rech Gallery

Though West’s sculptures barely inspire my own project, I’ve thoroughly enjoyed the short description above about the concept of actualising artwork when engaged through haptics because it is also something I’m currently following within my own project. I do find limitations between the artist and viewer when the audience is restricted to only observe the object and reading their short biography in many art museums and galleries. By looking alone you can’t tell how the artist felt while making their piece unless you imagine the process but they could be interpretted differently. I believe that allowing others to view and touch your work would help visualise how the object was made because you can feel the material within your hands. Towards my final exhibition I would like to integrate this concept to give the audience new experiences and freedom to see art in different perspectives by leaving the ceramics in the open and applying a sign stating free rein in contrast to traditional exhibitions.

[michellechanbcu]

The Giant’s Causeway

During the QRS meeting, Izabel mentioned about incorporating my display ideas with a famous monument called the Giant’s Causeway in Northern Ireland; the large area consisting of around 40,000 interlocking basalt columns is home to an array of sea life and fossils imbedded and scattered along the rock and the coast. I have heard about the tourist destination before but never knew the location would house lots of natural organisms. The inconsistent rock formation is a spectacular sight especially they were created naturally by a volcanic eruption millions of years ago and still stands to this day, one of the reasons why nature is fascinating to me. As I’m making several plinths to hold my ceramic pieces, the display design will centre around the monument layout as both themes would link well together and as the tiles are 2-dimensional the various height levels can bring different perspectives for audiences to view my work and not appear too flat.

[michellechanbcu]

QRS Group Meeting + Final Exhibition Proposal

We had to show our current series of work produced before and after breaking up for easter and present our final exhibition proposal forms detailing the context of the project we’re working towards and a plan of how we want to install our display. Here is my proposal:

What is your project about? In 150 words outline your understanding of your development following the recent crit

“Since the live project in LV5, I have thoroughly enjoyed the feeling of forming ceramics by handmade processes which has led to my final project where I explore the idea of engaging and interacting with objects and materials to gain different experiences, such as playing with textures, design, form and patterns through the use of haptics, combining themes of natural forms and organic resources in the project such as seashells, fossils and plant life that have deep connections and has continued to inspire my work.

 Towards the end of year exhibition, my project will also focus on providing an interactive approach by allowing the audience to personally touch and play the ceramics. Discovering most traditional museums and galleries only offer artwork for observational purposes, I feel this applies restriction to better understand artist’s work when placed behind a display case, so I hope to deliver change on giving new experiences and perspective.”

What is the most effective medium to convey your ideas within the context of an Art and Design showcase? i.e. Website/ Onsite exhibition or Offsite acitivity and associated documentation

“Mostly an onsite exhibition would convey my ideas and intentions clearly as I want the audience to physically approach my work, including a short description and sign stating my proposal.”

Provide a diagram or images that help us to understand the exact nature of your install (This should include construction methods, materials, Timescales).  All structures including ANY walls need to be figured in to your diagram and calculation. THERE ARE NO WALLS IN THE STUDIOS SO ALL INSTALLATION OF YOUR WORK MUST BE OUTLINED.  See example shown.

Light/Dark conditions

Bright lighting is preferable for the audience to clearly see my ceramic work and its designs

*Technical Requirements i.e. sound/smoke machine/projector

*University Technical equipment is at a premium and limited, so all equipment stated in your proposal must have already been booked or be provided and paid for by you.

No technical equipment required

Materials

Wooden materials e.g. MDF and possibly timber/cheap alternative to construct several plinths that will house my ceramic pieces on top

L4 assistance (please outline the nature of the help)

No L4 assistance required

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Once I presented my ideas to my group, I was given feedback on some issues to improve on and suggestions that could make my exhibition better;

Consider how the plinths will stand up/ crucial to think about their structure

Create mock ups of plinths/design layout of the installation with cardboard + MDF and Timber at a later time

Could the plinths be knocked over?/consider different positions reflecting on health and safety

How would your work be read with the display ideas?

Could photograph the audience picking up the ceramics to show my project is interactive (bring people from the public other than in the uni)

Why do you want the pieces to be picked up? Context?

Are the ceramics beautiful on their own without the plinths?

Convey different messages to traditional galleries e.g. a sign saying Don’t Touch but it’s crossed out

Consider a spotlight to define and highlight the tile’s design better