The crit was good for me in terms of thinking in a selective way about how much needs to go on display, weather or not less is more and keeping process back is important and more effective. Absence can impact.

I think that more work can dilute the impact of the work. That said I think for me it’s important to have several options for the hang. I would rather have everything in the space and subtract work than regret not including something which seems important when evaluating the exhibition as a whole.

If the framed work is included, then I would like to experiment with ways of hanging/ arranging the work. I like the idea of hanging at different depths and heights/orientation- Requiring the viewer to interact and move with the eye whilst looking. I take on board comments about separating pieces into groups but will have to see how this looks. My feeling currently is to mix the smaller pieces. My mind could be changed – I can be habitual in my methods so it’s good to challenge this.

Ideas of bringing, furniture, projections etc are great. I love them all. I wonder if this is an exhibition idea, as in it would look great but if it was important to the work then I think I would have come up with it earlier as an integral idea. Part of my practice is about materiality, particularly paint and clay – bringing installations, digital elements, and projections into this removes this to some extent.

From the crit, I got quite a few ideas in terms of moving beyond the exhibition. Thinking more about weight and home, environments, and rooms. Ideas to do with books and narration, using audio…Also in terms of documentation, it would be good to document and preserve in some way but not necessarily to exhibit everything at this time.

Ref the book. I completely take on board comments about the two books offering a different insight. Making the second book was a response for me, something to hold but not completely reveal the contents of the first book. I am not overly bothered about exhibiting the book on reflection but will see when in the space.

I need to give thought to how much I want to impart – process, for example. But am I even giving that away at all by having the preparatory work… if I don’t explain that the will it read that way? Is it possible that when the larger pieces are in the space they read very differently, enhance one another?

Laura’s Notes:

3 sections – wall-install – framed?

Books – one to handle one to observe (large – vitrine)?

Big paintings 5-tych -photographs – 3 x 1m square, 2 x 30/40 cm x 1m

Order?

How to display – accessibility?

Hung in an eclectic way – do they work well as a group – one framed in prep. But Julie prefers a thinner frame

Photo quality o painting reproductions the darkness isn’t quite accurate

Encaustic – formality of framing – Abigail Reynolds

Why include the studies

Hanging in groups – first time of thinking about all the elements

Mass of the objects – weighing them – clay equivalent – really interesting idea

Play today with the order – how to deal with the lines on the wall

Neil – likes the mixed up organisation – should they be on different planes? Feels like a journey – walk through amidst

The big one anchors them together – weight to the tiny objects – mark-making responds more to the encaustic/beeswax.

Trudi – framing – the ones on the board likes without framing but the paper ones should be framed – conservationist – how things are historically presented – does it bring them together – does it draw you in further?

Thinner frame – 

Scale

Museology – orientation – plan chest

Spatially – intention

Immersion

Intimacy – vitrines – furniture 

Come to value these objects and treat them more carefully and their narratives attached – selected down to more favourites

How are the large pictures hung? – one long painting? – big difference – birch ply boards 

Studies – hung/projected translucent

How much process do I share? Sketchbook – do those ideas need to be in the exhibition -photographs on a monitor

Different register exists for the smaller book

Special – archive – vitrine – protection

Weight and absence – memory – very personal – the actual objects – bring it all then subtract – add

Experimental re-hang?

Different depths – weight – same plane? Different distances from the wall?

Sam: Feel less abundant distributed

A book I can’t open has unimaginable amounts of stuff inside it – can it remain closed – objects that have weight – the contents are in observer’s mind – process has all the other stuff contained – activating the brain of the viewer – abstracted words that are more personal 

Projections of studies – out of painterly realm – turn it into light – layers – edited film

Making an immersive space that says something about the work aswell

Separating them all

Ending the paintings – parts Brough forward or knocked back – month to go then drying time

Trusting the process

Audio – writing – brochure – you could bring loads into this – 

Memory – process – simplify – allow the work to sit and you don’t have to show everything! Do you want to unpeeled the meaning and that there are lots of understandings and associations

An exhibition is an editing process – there should be time during the install

Frames can be recyclable – not an issue of expense

Ceramics has left the building so to speak – playing in its unfired form – all of the objects came form an actual form that have been thrown away

Photographic documentation could be useful for the website – could you make a film of it?

Animation stand

Helge could help with the documentation of the show even if some of the material doesn’t get included

Paintings do one thing that the others don’t .

Anya would like you to be less open and nice!

Show – hanging systems – weight of panels.