Final exhibition progress
Updated: Aug 1, 2019
How IS it going to look on the wall? I think I've said that my time in a museum working with exhibitions has been a big help here, measuring up, planning where things will go and working with fastenings of all kinds. Well this post - mostly in pictures - helps convey an idea of the level of planning that goes into the job.
I have four possible 'looks' in the ...message ends? project: shredded photos formed into haystack-like shapes; a haystack burning; shredded images framed and mounted, and the 'end-on' images, starting out as three intact and being whittled down to three shredded. It's too much to represent in the show, so three will have to be 'portfoilio only' with the fourth on the wall.
We had a hanging/content crit the other day where I hung work on the wall as it would be in the actual show. The images are all on photocopy paper, otherwise they'd have cost a fortune )and got damaged). The studio hardware will all be gone for the exhibition.
But in order to get to that I went through a range of alternatives. Photoshop makes it relatively painless putting things together...
Having put on the wall what amounts to the third image above, I have now changed my mind and I intend to go with the top right-hand layout with those images, because there's a technical challenge there I want to explore. Here's my layout plan then:
I have to say, I'm never so comfortable as when I get to draw a scale plan. I'm hoping to get the images finalised and printed by the end of the next week (holding your breath?) Hanging to be completed by Fri 24 May (so six weeks to go), but before that we need to prep and paint the studio walls to turn them into a gallery. Can't remember if I showed you these four images in detail, so here they are (actually I will be reshooting them in higher res so they are perfect at 1m high):
I probably avoided saying: ...message ends? is about the physical nature of the printed photograph and the implications for memory of its destruction, related to the musings of Roland Barthes and Walter Benjamin. Google them. The unprinted digital photograph might be next in what's turning into a series of memory projects. But I need to get my head round the idea of an electronically stored 'photograph'; surely all it is at that point is as insubstantial as an idea, first in the photographer's mind, then on the chip in the camera, then on the chip in the computer, then in the data sent to the chip in the printer...but how different is all that to the 'idea' being captured in silver bromide on an undeveloped film? Discuss.
See Competition entries and getting it out there for the final four images going on the wall.