TH: Sculptural pieces started to appear in the gallery. Delight in certain quarters at the discovery of two mesh trollies and more Heras fencing panels than we could possibly use. LB: Click here for an overview of today. LB: Looking back to look forward - Red is the colour...., 2019, in a rusty cage: Click here for a basic stop animation of the installation process. I made Red is the colour of... for B-Wing, an exhibition in Shepton Mallet prison, which started the week I started this MA, in Sept. 2019. Click here for images of this work installed in the decommissioned prison. It's very useful to revisit it here, and now. I also installed part of Red is the colour of... at 'inaugural' in Feb 2020 at Sion Hill gallery, an exhibition with my part time MA Fine Art peers. I included some extra, long sections that I'd knitted since September. One of my areas of research for this project is how work is perceived when it's installed in different ways and/or in different settings. Art historian and curator, Miwon Kwon discusses the ‘impermanence and transience’ of art installed in response to ‘one site after another’ (2002, p4). Artist, Richard Tuttle ‘enters a dialogue with the space’ sometimes reinstalling his work to explore how it can respond differently to the same setting (Petersens, 2014, p77). I also often choose to install my work in unexpected places. How can I bring that sense of the unexpected into a gallery setting? It's clear that my experience of installing my work in the prison is still influencing my decisions and aesthetics through the rusty, steel grid. Kwon, M. (2002) One place after another: site-specific art and locational identity. Cambridge, Mass: MIT Press
Petersens, M. (2014) ‘The visual poetry of Richard Tuttle.’ in Tuttle, R. (ed.) (2014) I don’t know. The weave of textile language. Exhibition held at Tate Modern 14 October 2014 - 6 April 2015 and Whitechapel Gallery, London 14 October – 14 December 2014 [Exhibition catalogue] pp 73-81
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