Sense of Worth Exhibition - Week 4 @ Winkhill Mill - 22.2.18
Week 4 - Exhibition
22.2.18
For the week of the exhibition we've been concentrating on getting the work installed in the space ready for the opening night. Some last minute experimentation proved interesting for my projection work. I found that my 'documentary' style videos of the kiln looked more effective in my constructed space outside of the shipping containers. It carried on the conversation from the upper container space and seemed to flow better when coming out of the space. I also played with my sound piece - a short 30 second excerpt of the kiln. It is displaced outside of the containers which feels interesting when listening to it from inside space. It tests a perception of the environment and adds an almost 'live' quality to watching the video as it can be assumed its the actual kiln being fired up. This is interesting to me when thinking about my intention to encourage a thinking about the environment and to set up an experience for the audience.
The work is enhanced by the dark as we've seen whilst setting it up before the opening night. In the day, the eye is guided by the other material in the space. The brightness from outside also draws away from the projections and is harsh on Fearn's sculpture. At night our synthetic lighting softens the space up, the sculpture and soft light from my abstract projections blend together really well. My laser cut image 'Stacks' works well suspended outside of the containers with light directed behind it. It illuminates the subtle almost invisible etch into the perspex and offers a literal likeness to the cardboard stacks behind it.
On the public blog I note; "Of yet - the work is stacked, placed, merged, layered in various formats in a variety of ways. This fusion of a multitude of fragments is starting to reflect the dynamic of the collaboration." This again details the significant aspect of our residency; the exchange between ourselves, Ceramic City Stories and the tile factory workers.
Concerning the urbanised, active space we're showing in - I also discussed; "What's interesting is that the work isn't about a proverbial perfectionism - creating a clean gallery space isn't the fundamental intent. To echo the space is to reflect the essence of this working environment." Here I specify another part of the exhibition meaningful to us in the making of our work. To mirror the dynamic of our time spent at the mill and our experience will hopefully be paramount in the audience's reading of the show.
22.2.18
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| Sense of Worth Exhibition Poster |
For the week of the exhibition we've been concentrating on getting the work installed in the space ready for the opening night. Some last minute experimentation proved interesting for my projection work. I found that my 'documentary' style videos of the kiln looked more effective in my constructed space outside of the shipping containers. It carried on the conversation from the upper container space and seemed to flow better when coming out of the space. I also played with my sound piece - a short 30 second excerpt of the kiln. It is displaced outside of the containers which feels interesting when listening to it from inside space. It tests a perception of the environment and adds an almost 'live' quality to watching the video as it can be assumed its the actual kiln being fired up. This is interesting to me when thinking about my intention to encourage a thinking about the environment and to set up an experience for the audience.
The work is enhanced by the dark as we've seen whilst setting it up before the opening night. In the day, the eye is guided by the other material in the space. The brightness from outside also draws away from the projections and is harsh on Fearn's sculpture. At night our synthetic lighting softens the space up, the sculpture and soft light from my abstract projections blend together really well. My laser cut image 'Stacks' works well suspended outside of the containers with light directed behind it. It illuminates the subtle almost invisible etch into the perspex and offers a literal likeness to the cardboard stacks behind it.
On the public blog I note; "Of yet - the work is stacked, placed, merged, layered in various formats in a variety of ways. This fusion of a multitude of fragments is starting to reflect the dynamic of the collaboration." This again details the significant aspect of our residency; the exchange between ourselves, Ceramic City Stories and the tile factory workers.
Concerning the urbanised, active space we're showing in - I also discussed; "What's interesting is that the work isn't about a proverbial perfectionism - creating a clean gallery space isn't the fundamental intent. To echo the space is to reflect the essence of this working environment." Here I specify another part of the exhibition meaningful to us in the making of our work. To mirror the dynamic of our time spent at the mill and our experience will hopefully be paramount in the audience's reading of the show.
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| 'Kiln 3' - Amy Foster, 2018 |
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| 'Tile Press' - Amy Foster, 2018 |
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| 'Stacks 1 Lasercut' - Amy Foster, 2018 |
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| Detail - 'Mill 1 Prints' - Amy Foster |
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| Day 'Mill 1 Prints' - Amy Foster , 'Crank' - Fearn Hepden, 2018 |
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| Night 'Mill 1 Prints'- Amy Foster, 'Crank' - Fearn Hepden, 2018 |
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| 'Metal Stack' and 'Untitled- Tile' - Fearn Hepden, 2018 |
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| 'Metal Stack' - Fearn Hepden , 'Stacks 2 Print' , 'Kiln 1' , 'Kiln 2' - Amy Foster, 2018 |
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| 'Kiln 1' and 'Kiln 2' - Amy Foster, 2018 |
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| 'Kiln 1' - Amy Foster, 2018 |
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| Sense of Worth 23.2.18 - Photographs by Connor Mountford |
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