20.11.20 Proposal for an exhibition at the Michael Pennie Gallery, Locksbrook Campus
I suggested to Tim, Hannah and Sarah that we write a proposal together, as the Gang of Four, for an exhibition at the Michael Pennie Gallery at Locksbrook. Sadly, Hannah decide not to be involved but the other 3 of us worked together to put something together to submit. It was a really useful exercise! We haven't yet heard whether we have been accepted, but it gave us a really helpful focus for our weekly online gatherings and frankly, for me, it was very hopeful.
It felt really straightforward to work with Sarah and Tim. Our work is so different, but I feel that is a strength. We did find some interesting connections and the research that we did independently and then shared with one another was illuminating. It has led to some in depth conversations and further research. I sincerely hope we are given the opportunity to trial our idea, in the gallery, but if not, I feel that it has been a valuable project. It felt very invigorating to be planning a potential exhibition for the future!
We asked Andrea's advice about the draft proposal and edited it accordingly. Finally we submitted it with a selection of images of our work.
Even if we aren't given this opportunity, I really hope that Tim, Sarah and I can bring this idea to fruition at some point, somewhere else. It will be really good to work together in this way.
Here is our final proposal:
Exhibition / display idea / proposal cover sheet
Name: Lou Baker, Tim Heath, Sarah Kniveton
Idea/Proposal: A proposal for a changing exhibition at Locksbrook
What happens when work is installed in different ways in the course of an exhibition so that it becomes a dynamic narrative? What impact is there on how the works of art are perceived? How do they respond to one another and to the space they’re in?
The philosopher, Henri Bergson, makes the distinction between ‘time as spatialised and time as experienced’. He maintains that spatialised time is ‘mathematical, a clock time, all of whose parts are alike and all of whose instants are static’. Experienced time, on the other hand, is a ‘qualitative duration, no new parts of which are identical or capable of being repeated’. Bergson suggests that it is in this experienced world of ‘inner duration’ that really surprising things can appear, ‘the ontologically new’. In other words, for Bergson ‘inner duration provides a paradigm of creativity’.
We propose to use the exhibition space to explore temporality through a durational, practice-led research project, part exhibition, part residency. We are three second year MA Fine Art students who plan to further our research into time, memory and mortality in our individual work, and explore and develop connections between our several practices. We use very different materials and processes but recognise common themes in what we make. Our work uses painting, sculpture, photography, installation, performance and printmaking, and incorporates figuration, symbolism and abstraction.
We plan to experiment with imaginative and playful ways of showing recent work and work in progress. We will make explicit the ongoing curating process, providing insight into the choices faced and the decisions made. This will serve a clear didactic purpose for other students (BA, MA, wider audience) and offer inspiration. We will be present at specified times and keen to discuss the project with visitors.
We will document the process over time using various methods such as video, photography, written reflection and visitor feedback. We will disseminate our findings as appropriate for our individual Masters modules.
We will undertake all appropriate risk assessments and comply with relevant health and safety requirements. We’re aware that Covid 19 restrictions will limit our physical audience but we will expand our reach through a planned programme of social media communications.
A working title for the exhibition is ‘Anticipation and Recall: future and past in the present’.
Like artist Richard Tuttle, who sometimes reinstalls his work to explore how it can respond differently to the same setting, we will ‘enter a dialogue with the space’ to create an exhibition that changes over time. Through this time-based approach we hope to tap into Bergson’s ‘paradigm of creativity’ to discover things that are ‘ontologically new’.
Possible date: A week between late January and mid March 2021 (except w/b 15.2.21)
Proposed space: Michael Pennie Gallery
Technical requirement or resources (plinths, AV equipment etc):
Ladders, plinths, projectors, audiovisual recording equipment
Likely cost:
Self-resourced
Any external funding available?
N/A
What is the purpose of this show?
How will putting this show on affect your practice?
Having time scheduled in an exhibition space will enable us to focus on specific aspects of our individual research but will also give us the opportunity to work closely together to develop skills of collaboration and curation as we start our final Masters module.
Partnership or collaboration involved?
Collaboration between contributing artists
Who else have you discussed this with?
Andrea Medjesi-Jones
From: Lou Baker, Tim Heath, Sarah Kniveton Date: 20.11.20
Attachments :
Tim Heath 1, 2010 - 2019, 'River Walk', oil on canvas on board, 14 panels, various sizes, installation of variable dimensions, approx. 50 x 200 cm as shown
Tim Heath 2, 2019, 'View from a Train: 23 Seconds', oil on cardboard, 24 panels, each 14 x 25 cm, installation of variable dimensions, approx. 100 x 110 cm as shown
Tim Heath 3, 2020, 'Bright Morning Walk', oil on canvas on board, 6 panels, each 21 x 38 cm, installation of variable dimensions, approx. 75 x 250 cm as shown.
Lou Baker 1, 2020, ‘Body cocoon 4 (If you go down to the woods today)’, hand knitted wearable soft sculpture, one of a series of ‘Body cocoon’ performance stills
Lou Baker 2, 2020, ‘Parts of me’, detail, hand knitting, steel, Jesmonite, plaster, shoes, a series of sculptural assemblages, installation of variable dimensions
Lou Baker, 3, 2019 - 2020, ‘Red is the colour of...’, detail, hand knitting, installation of variable dimensions, here installed at ‘inaugural’, Sion Hill campus, Feb.
Sarah Kniveton 1, 2020 ‘Articulated Memory’ Mixed media
Sarah Kniveton 2, 2020 ‘Memory Vessels’ Mixed media
Sarah Kniveton 3, 2020 ‘Memory Box – outside in’ Mixed media
Visual supporting material :
@timheath1459
@sarah.kniveton
@loubakerartist
loubakerartist.weebly.com
It felt really straightforward to work with Sarah and Tim. Our work is so different, but I feel that is a strength. We did find some interesting connections and the research that we did independently and then shared with one another was illuminating. It has led to some in depth conversations and further research. I sincerely hope we are given the opportunity to trial our idea, in the gallery, but if not, I feel that it has been a valuable project. It felt very invigorating to be planning a potential exhibition for the future!
We asked Andrea's advice about the draft proposal and edited it accordingly. Finally we submitted it with a selection of images of our work.
Even if we aren't given this opportunity, I really hope that Tim, Sarah and I can bring this idea to fruition at some point, somewhere else. It will be really good to work together in this way.
Here is our final proposal:
Exhibition / display idea / proposal cover sheet
Name: Lou Baker, Tim Heath, Sarah Kniveton
Idea/Proposal: A proposal for a changing exhibition at Locksbrook
What happens when work is installed in different ways in the course of an exhibition so that it becomes a dynamic narrative? What impact is there on how the works of art are perceived? How do they respond to one another and to the space they’re in?
The philosopher, Henri Bergson, makes the distinction between ‘time as spatialised and time as experienced’. He maintains that spatialised time is ‘mathematical, a clock time, all of whose parts are alike and all of whose instants are static’. Experienced time, on the other hand, is a ‘qualitative duration, no new parts of which are identical or capable of being repeated’. Bergson suggests that it is in this experienced world of ‘inner duration’ that really surprising things can appear, ‘the ontologically new’. In other words, for Bergson ‘inner duration provides a paradigm of creativity’.
We propose to use the exhibition space to explore temporality through a durational, practice-led research project, part exhibition, part residency. We are three second year MA Fine Art students who plan to further our research into time, memory and mortality in our individual work, and explore and develop connections between our several practices. We use very different materials and processes but recognise common themes in what we make. Our work uses painting, sculpture, photography, installation, performance and printmaking, and incorporates figuration, symbolism and abstraction.
We plan to experiment with imaginative and playful ways of showing recent work and work in progress. We will make explicit the ongoing curating process, providing insight into the choices faced and the decisions made. This will serve a clear didactic purpose for other students (BA, MA, wider audience) and offer inspiration. We will be present at specified times and keen to discuss the project with visitors.
We will document the process over time using various methods such as video, photography, written reflection and visitor feedback. We will disseminate our findings as appropriate for our individual Masters modules.
We will undertake all appropriate risk assessments and comply with relevant health and safety requirements. We’re aware that Covid 19 restrictions will limit our physical audience but we will expand our reach through a planned programme of social media communications.
A working title for the exhibition is ‘Anticipation and Recall: future and past in the present’.
Like artist Richard Tuttle, who sometimes reinstalls his work to explore how it can respond differently to the same setting, we will ‘enter a dialogue with the space’ to create an exhibition that changes over time. Through this time-based approach we hope to tap into Bergson’s ‘paradigm of creativity’ to discover things that are ‘ontologically new’.
Possible date: A week between late January and mid March 2021 (except w/b 15.2.21)
Proposed space: Michael Pennie Gallery
Technical requirement or resources (plinths, AV equipment etc):
Ladders, plinths, projectors, audiovisual recording equipment
Likely cost:
Self-resourced
Any external funding available?
N/A
What is the purpose of this show?
- To research in more depth themes of time, memory and mortality in our different practices
- To trial different ways to install and curate our work
- To develop professional practice in curating and explicate this process
- To document and reflect on the research process
- To showcase the work of the three exhibiting artists
- To inspire other students and a wider audience.
How will putting this show on affect your practice?
Having time scheduled in an exhibition space will enable us to focus on specific aspects of our individual research but will also give us the opportunity to work closely together to develop skills of collaboration and curation as we start our final Masters module.
Partnership or collaboration involved?
Collaboration between contributing artists
Who else have you discussed this with?
Andrea Medjesi-Jones
From: Lou Baker, Tim Heath, Sarah Kniveton Date: 20.11.20
Attachments :
Tim Heath 1, 2010 - 2019, 'River Walk', oil on canvas on board, 14 panels, various sizes, installation of variable dimensions, approx. 50 x 200 cm as shown
Tim Heath 2, 2019, 'View from a Train: 23 Seconds', oil on cardboard, 24 panels, each 14 x 25 cm, installation of variable dimensions, approx. 100 x 110 cm as shown
Tim Heath 3, 2020, 'Bright Morning Walk', oil on canvas on board, 6 panels, each 21 x 38 cm, installation of variable dimensions, approx. 75 x 250 cm as shown.
Lou Baker 1, 2020, ‘Body cocoon 4 (If you go down to the woods today)’, hand knitted wearable soft sculpture, one of a series of ‘Body cocoon’ performance stills
Lou Baker 2, 2020, ‘Parts of me’, detail, hand knitting, steel, Jesmonite, plaster, shoes, a series of sculptural assemblages, installation of variable dimensions
Lou Baker, 3, 2019 - 2020, ‘Red is the colour of...’, detail, hand knitting, installation of variable dimensions, here installed at ‘inaugural’, Sion Hill campus, Feb.
Sarah Kniveton 1, 2020 ‘Articulated Memory’ Mixed media
Sarah Kniveton 2, 2020 ‘Memory Vessels’ Mixed media
Sarah Kniveton 3, 2020 ‘Memory Box – outside in’ Mixed media
Visual supporting material :
@timheath1459
@sarah.kniveton
@loubakerartist
loubakerartist.weebly.com
And here are the accompanying photos: