Category Archives: CURATORIAL PROJECTS

Poster & Photograph

On 19 May 2014 the group arranged to visit Karst and Saltram House to take some photographs for the exhibition poster.  We decided to use a single antique chair (provided by Jem Williams’) and a set of headphones to give the idea that the work was a sound piece.  Below are some examples of the photographs which Ellena Simpson took:

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Photographs by Ellena Simpson

As a group we decided on a photo which Ellena had taken inside The Orangery.  We felt that it made more sense to use a photograph from of part of Saltram’s grounds instead of Karst Gallery which had no relation to the project.  By using a photo taken of Saltram, it also linked to our proposal regarding sense of place. Ellena produced a draft poster as follows:

Draft poster by Ellena Simpson (spelling of Orangery needs to be amended)
Draft poster by Ellena Simpson (spelling of Orangery needs to be amended)

Install 28 April 2014

On the day of the installation William Danby had arranged transport of the sculpture at 9.15am from Studio 11 to the Council House building.  We only had the van facilities for a limited time, but managed to fit the entire sculpture (in several sections) in one trip.

Day of Installation: Transportation of Sculpture. Photograph by Helanie Moore
Day of Installation: Transportation of Sculpture. Photograph by Helanie Moore

Lee McDonald traveled with William to the Council House to transport the sculpture.  I was the only other person with a car on the day so I dropped Jess Bent and Kath Howard with the wall pieces to the Council House from Studio 11 first.  I then, over several trips transported the plinths and smaller view-finding devices with Maddy Crossley and Sarah Hughes, as well as tools/paint etc which we required.

Will, Lee and Maddy set about putting the sculpture together and fortunately all of our preparation and measurements had paid off because the sections fitted together perfectly and created no obstruction to the lighting.  This was the first time we had actually seen the sculpture in one piece!

Install of Sculpture: Photo by Helanie Moore
Install of Sculpture: Photograph by Helanie Moore

Jess and Kath hung the wall pieces using wire, eyelet hooks and picture hooks that wouldn’t damage the wood panels.  Tony Davey expressed particular interest in the wall pieces and said that he may be interested in buying one.  Following a brief discussion with our tutor Edith Doove (also present during the install), she felt that we should look into charging for prints and whether we would be able to also produce framed prints if people showed an interest in purchasing them.  We later decided to charge £25 for limited edition prints and £35 for framed prints.  Kath Howard and Jess Bent took on the responsibility of recording orders.

3 of the installed wall pieces. Photograph by Helanie Moore
3 of the installed wall pieces. Photograph by Helanie Moore

Myself and Sarah prepared the plinths (filled gaps/sanded) and painted them over dust sheets to prevent any damage to the marble floor.  After consulting with Councillor Penberthy it was decided that we would not place rope between each plinth around the sculpture because a) it would prevent people interacting with the sculpture, b) the plinths marked out a square shape around the sculpture – an invisible barrier and c) the sculpture was very visible and it was unlikely that people would walk directly into it.

Preparing plinths for install. Photograph by Helanie Moore
Preparing plinths for install. Photograph by Helanie Moore

The whole installation did not take long and we were finished by the early afternoon.  As mentioned, we had tried to prepare for all eventualities which had put us in good stead.  It was a great sense of satisfaction and relief to have the artworks installed successfully and to see that the hard work had paid off.

Install of Sculpture. Photograph by Helanie Moore
Complete Installation. Photograph by Helanie Moore

Discussion with Saltram House Volunteer

During our visit to Saltram House on 19 May 2014 to take photographs for the poster, myself and William Danby (after speaking to Rebecca Wickes) took a look around the actual house to get a better understanding of the history of Saltram.  While walking around the kitchen area, we noticed that there was paper on the worktop with suggestions people had made on what they would like to see in the kitchen space.  We spoke to Francis Williams one of Saltram’s volunteers regarding this and he commented that Saltram were interested in “bringing the place to life” for visitors with suggestions on how “it could be made more exciting” i.e. having the smell of bread cooking or volunteers dressed in period costume (Williams, 2014).

Visitor Suggestions: Permission from Volunteer granted to take photograph. Photograph by Helanie Moore
Visitor Suggestions: Permission from Volunteer granted to take photograph. Photograph by Helanie Moore

He also mentioned that Saltram House “used to play baroque music in the dining room” (Ibid).  This was particularly interesting to us as we could possibly find out the actual music that was played and use it in our sound piece.  Furthermore, it was interesting to hear that people want to have a more all round experience and this linked very well to our own project of wanting the audience to not only consider the visual beauty of Saltram but also the other sensory experience of sound.

Reference:

Williams, F. (2014) H. Moore’s notes taken from a conversation with Frances Williams, Volunteer at Saltram House on 19 May 2014.

Sound Recording

Group members met with Olly Wickes and students of DBS at Saltram House on 29 May 2014 to take sound recordings.  Unfortunately I could not attend but Ellena Simpson updated the rest of the group as follows:

The collaboration will be run between us, Olly and DBS student called Sam Ware (other students could not commit because of the time of year or were not reliable and didn’t show!).

All sound recordings have now been produced.

Sam is going to research into appropriate classical songs, possibly relating to the era of the building. He will also look into Baroque.

Sam is free to commence with mixing next week, and is keen for us to join him in the studio. (Simpson, 2014)

Reference:

Simpson, E. (2014) Facebook Group: Saltram Exhibition [online]. Available at: https://www.facebook.com/groups/634939613238668/ (accessed 03/06/2014)

Plan of Action

On 28 May 2014, Ellena Simpson had expressed her concerns that we were running short of time with regard to the project and because we had our last assessment in the next few days and summer show, we were not making The Orangery Exhibition our priority.  I advised Ellena that I would write up a plan of action and post on Facebook as follows:

1. Need TITLE for exhibition urgently so that poster and press release can be sent this week to Rebecca (at least she will have all info when she eventually responds)… I later suggested the title Synaesthesia 
(the production of a sense impression relating to one sense or part of the body by stimulation of another sense or part of the body)

2. If Rebecca does not reply ref poster/press release, confirm if ok to go ahead with Edith and print a couple of posters (one could be placed in studio 11 for summer show). Poster printing costs £6-8each in creation. Also email Jake May in college marketing with press release.

3. Meet with Olly ASAP to sound record at Saltram and discuss other audio to be mixed in i.e. classical music – baroque? and possible recording of Janine Rook reading passage from Morley/Austin letters? Students met with Olly Wickes on 29 May 2014

4. Chase up insurance.  Edith later received confirmation that we would not have to pay for additional insurance for equipment.

5. Make sound boards – these need to be designed, priced up and made – will not be able to use studio 11 but between us I think we have plenty of tools etc – sunny day building in garden it is!

6. Source free/cheap furniture.

Artist as Curator – Reflection on Curatorial Project: Plymouth City Council House

The Plymouth City Council House group exhibition was truly an artist as curator project.  In the early stages of this assignment we had initially wanted to borrow work from an artist and curate the space within the Council House foyer.(https://helaniemoore.wordpress.com/2014/02/02/council-house-building-ideas-discussion-with-student-peer-group-16012014/)  However, as our ideas developed we collaborated together with artist Lee McDonald to produce new original artworks specifically for the foyer space and the Council’s theme of The Future of Plymouthhttps://helaniemoore.wordpress.com/?s=sculpture

I was particularly drawn to this project as the space was not the typical gallery space one might expect and it presented a challenge in terms of the listed featured which could not be removed or changed.  I personally relished this opportunity because I have had experience of working in similar environments (in Local Government with Council Members) in the past in non-artistic roles and felt this was an excellent opportunity to connect my previous experience prior to my studies and my current knowledge of fine art and curatorial practices.

This was an exceptional assignment which our tutor Edith Doove had put us forward for and the group members including myself, William Danby, Kath Howard, Maddy Crossley, Jess Bent, Tiffany Smith and Sarah Hughes made it our priority to make this project a success.

During our studies we had been encouraged to attend gallery spaces and exhibitions that allowed us to network with fellow artists and curators.  By doing so, I met local artist Lee McDonald at the Plymouth College of Art’s Ephemeron, “Artist as Curator”, Critique Event at Karst in April 2013. (https://helaniemoore.wordpress.com/2014/02/02/lee-mcdonald-kinetic-artist/) This connection with Lee ultimately led to this collaborative exhibition The Future of Plymouth, 2014.

I saw my role during this project as the organizer, administrator and all-round helper and supporter to my fellow group peers.  My input and duties involved the following:

I also consider one of my roles in this group project as keeping the group’s morale up and encouraging everyone in their endevours during this project.  I think I took on quite a lot of responsibility during this project but was happy to do so as I am quite impatient and like to get things organised efficiently and effectively to produce the best possible outcome all round.

I enjoyed working on this group project and felt an overwhelming sense of satisfaction on pride on completing this project.  I feel that all group members worked together fantastically and harmoniously.  I would say that my strengths during this project were in the administrative and organizational processes and this was balanced out by William Danby’s technical abilities with Maddy Crossley’s assistance, Kath Howard and Jess Bent’s production of the wall pieces/prints and blog and Sarah Hughes and Tiffany Smith’s input into the draft proposal, poster and finishing touches to the sculpture and plinths.  Lee McDonald was a joy to work with and remained extremely humble and a team-player throughout the project.

Although the artworks produced during this project were not necessarily something I would have undertaken on my own, I enjoyed assisting in realizing our curatorial and artistic vision for the Council House foyer.  As mentioned in earlier posts we wanted to create something that they had not seen in the space before. Previously, the artwork had been mainly wall-hung pieces, however we wanted to change the space and create a playful nature in the somewhat intimidating, official space.  We did this by thinking about audience participation and Lee McDonald was an obvious choice to work with because of his interactive work.

By accurately measuring the space, we prepared ourselves well for all eventualities with the sculpture and wall pieces fitting perfectly within the space without causing obstruction.

The feedback we received was excellent and I feel we that we achieved what we set out to do.

This project was one of the main highlights of the BA (Hon) Fine Art, Critical & Curatorial Practices course and I am delighted that I was part of it.  The line between artist and curator was undoubtedly blurred during this assignment and I savoured every moment.

 

 

Press Release

On 15 May I was nominated by the group to draft up the press release for The Orangery exhibition.  I shared this with the group on our Facebook page and also emailed our tutor Edith Doove:

Title, 2014
Art Exhibition

The Orangery, Saltram House

Dates

Plymouth College of Art BA (Hon) Fine Art, Critical and Curatorial Practices third year students are delighted to present a new body of work in The Orangery, Saltram House. The exhibition aims to encourage the visitor to reflect on Saltram’s stunning environment by considering the auditory ambience of the historic grounds.

In collaboration with students of the music production centre Deep Blue Sound Ltd the main featured work will comprise of a contemporary sound piece to compliment the ground’s timeless landscape. By combining audio recordings of Saltram’s natural surroundings with classical music and relevant literary spoken text the artists hope to provide the visitor with an inclusive sensory experience – evoking ideas of escapism, aura and place.

?names of students?

?private performance event?