Reflection: Exhibition

Figure 1). Photograph of my exhibition, captured on mobile device. (click to enhance image)

  

Figure 2). Painting set-up (left) board set up (right) (click to enhance image/play video)

The final exhibition was of immense personal and collaborative success. On Friday the 21st of March, we painted the boards to prepare them for the following Monday. After a hectic morning transporting twenty-four exhibition boards from Brampton campus to the market hall, I began the installation of Remember when (see Fig. 2)

Rationale

The final exhibition of Remember when is complex, composed using several strategies. Once finished installing, I practiced distancing myself from my work and view my work from an audience perspective, a strategy encouraged by Shirley Read. (Read, S. (2014) Exhibiting photography: a practical guide to displaying your work. 2nd ed. Burlington, Mass: Focal Press.)  All elements involved in the exhibition play a vital role; the materials included were carefully selected for their relevance and suitability to their purpose. The rationale is as follows:

Figure 3). close up of shadow box framing effect (click to play video)

·       The colour film photographs were dry-mounted on foamboard for two reasons: firstly, the width of foamboard was approx. 5mm, which created a perfect quantity of depth between the surface of the frame to the actual photograph; its immersive quality of drawing the viewer into the image was balanced with the shadow box’s traditional association of stored memorabilia (see Fig. 3).

Figure 4). Red line showing 160cm height. (click to enhance image size)

·       The framed photographs follow a semi-linear system. The sequence reflects how memories behave within our mind; for the most part, memories are stored according to our internal timeline of events. This timeline is reflected by presenting the photographs as a continuous line. However, as time passes, memories can become distorted, partially or fully forgotten, sometimes conforming to bigger memories. This fact is represented through the intermittent disruption of the linear sequence.

·       The top of the lower hung frames measures at exactly 160cm, ensuring good view for the average height viewer. (see Fig. 4). 

Figure 5). Close up Lager-flavoured youth 

·       All titles are extracted from actual poems I have conducted for each photograph. For example, the full version of Lager-flavoured youth reads:

These rose tinted memories

are laced with the sour aftertaste

of my lager-flavoured youth

No full-length poems are displayed, as this may prevent the viewer from making their individual interpretation of the photographs. Using extracts limits it as a suggestive clue (see Fig. 5). From a conversation with a visitor sharing her interpretation, this proved success as perceived this particular photograph to mean growing up in an environment with parents who drink, which is not the original context of this memory. not the original context of this memory.

Figure 6). Photograph captured with rose-tinted glasses (middle) and without (left). Display of glasses provision (right) (click to enhance image size)

·       The six framed photographs are printed on matte paper to prevent unwanted reflection from their lights above. These lights were installed to create the shadow box effect, and with careful selection of bulb wattage, the lights ensured a warm atmosphere, transforming my exhibition space into a welcoming environment. Also, the warm light enabled the rose-tinted glasses (provided) to take effect, as initially discovered during crits (see Fig. 6). This effect was particularly important to me, as I experience nostalgia as a rosy, warm, and fuzzy feeling. This impression was emphasized by the fabric and orange tone of the descended shutter.

·       The canvas border was selected as an off-white tint, fitting into the exhibition aesthetic.

Figure 7). demonstration of object photographs. (click to enhance image size)

·       The canvas size and shape of the photographed objects were given similar attention, but with a different intent. The elongation of the border at the bottom of the photograph gave way for a resemblance to traditional polaroid photography (see Fig. 7) This decision was based on nostalgia’s association with polaroid photography. I utilised the title of each photograph in the exact placement where film-specific information would usually occur on insta-film cameras. The polaroid impression is carried on through the mounting techniques; small wooden pegs holding the photographs on jute twine is a common hanging technique of polaroid photographs.

Figure 8). Close-up of plinth with objects (left) and space location (right) (click to enhance image size/play video)

·       Including the actual objects as part of exhibition further enhanced the immersive aspect. It gave opportunity to the utilise the viewer’s senses, encouraging the touch and feeling of the pictured objects. (see Fig. 8) 

·       I specifically requested my exhibition space for its ability to keep the shutter down (and therefore, keep other light out) without affecting fellow team member’s work. (see Fig. 8)

Figure 9). Close-up of sign (click to enhance image size)

Hiccups

On the day of installation, the uneven floor surface of the venue meant none of the boards would stay level. Since my exhibition plan was dependant on the boards’ flush surface, this caused some stress. I overcame this by compressing the frame placement, using the most afflicted board solely to block out unwanted light.

During the exhibition duration, four out of six light bulbs burnt out. I overcame this by venturing to Dunhelm for replacement bulbs, as Wilkinson’s did not sell any which matched.

Some exhibition boards were damaged in transition. This was solved by painting them on site, leaving the wet patches to dry overnight.

The narrow entry to my exhibition was cautioned through a printed sign. This sign also doubled up as stating that my exhibition was around the board corner. (see Fig. 9) 

 

Personal reflection

My exhibition is composed of several physical and metaphorical layers. The emotive depth of the concept combined with its multiple exhibition strategies procured a flaw: the exhibition became slightly too reliant upon the emotional intelligence of its viewers. However, it was made clear to me from my conversations with viewers during the week that this factor was a strength, those who understood the concept and my rationale could truly appreciated the result.