Focus on series, documentation
experiment with idea of putting syrup in outside environments, record changes
animal impact
ARTISTS
Robert Smithson – continuous project altered daily
Hotel Palenque
Vibrant matter Jane Bennett
Gustav Mezger
Cornelia Parker
Christine Borland
Scifi, horror films?
Seeing how the off site show piece has developed in the time after the offsite show. This hasn’t been touched or altered at all and was kept in a plastic bag in the studio space.
There are no extreme changes, however the work appears more colourful and the patterns more intense
ADVERTISEMENT OF THE SHOW:
‘THINGS THAT GO BUMP IN THE NIGHT
Tuesday 25th April 5pm – 9pm
The flying Dutchman, 156 Wells Way, Camberwell, SE5 7SY
Featuring artists of BA Fine art at Chelsea college of art – Camilla Nicosia, Charlotte Paris, Eliza Brady, Micheal Bray, Jade Miles, Madeleine Schutz, James Zhu, Scheng Liu, Yaoer Zeng, Zuza Milobedzka and Zetai Wang.’
For the offsite show, I was interested in being in an environment which had a sense of darkness and mystery. I felt that my work wouldn’t have been best displayed in a white cube kind of space due to the nature of it almost looking like a scientific experiment. By putting it in an environment where the other work in the room varied from being dark and grotesque to erotic, it made my work questionable.
We chose the Flying Dutchman as our exhibiting space due to the atmosphere of the basement. This venue is also used regularly to hold ‘alternative events’ which have the sexual, dark, diverse vibe we decided we had with our work.
The choice of ‘Things that go bump in the night’ as our exhibition name was decided also because of its sense of mystery. It can be interpreted in different ways.
Final off site show piece
I glued the edges of the plastic as well as drilling 8 holes into the plastic and screwing it together with bolts – this was done in the wood workshop and metal workshop.
The piece has been hung from the ceiling using fishing wire, i chose to do this due to the way the viewers are now able to walk around the piece to experience all areas of it and from different angles.
Decided to create a large version of the previous experiment for my off site show piece.
I am interested in
– whether the material/mould will change when its contained in between the sheets of plastic
– the effect the piece can have on the viewers when its in between sheets of transparent material. It is still clearly visible yet kept at a safe and hygienic distance from the viewer.
– will the mould develop into patterns, colours and prints when it has been pressed together by two materials
– how will the viewers view the piece, will it appear elegant and delicate or will it appear grotesque
My original intention with the box of mould covered objects was to hang them in the off site show exhibition space. However, although I used plaster in the mixture with the intent of it hardening and setting, the mould was soft and delicate.
Also – displaying the mould close to the viewer almost takes away the concept of time and process and goes back to my previous ideas of repulsion and creating reactions from the viewer.
I’ve taken the idea of taking the material from one environment, letting it develop and then putting into a new environment and experimented with this by placing sections of the mould in between transparent sheets of acrylic.
perspex tester with mould squished in between
After 3 weeks the box is filled with mould. This was an expectation I had, yet when dealing with it (opening the box) I was repulsed.
The mould surprisingly didn’t smell of anything – something I really expected to occur
The materials appear quite elegant, ‘pretty’ ‘like a landscape’
Using the materials from the previous post to make a mixture which can then adopt over time. There is no intentional reason or decisions relating to why these food ingredients have been used.
Using my hands as a tool to mash the banana and jelly – experimenting
The overal mixture was unpleasant to look at, smell and touch. Although my original idea was to just coat the very day objects in the food, I also decided to put the food mixture back into the environment it was in. For example, back into the skin of the banana, the shell of the eggs and the packaging of the processed food.
I also mixed plaster into the food mixture, in an attempt for it to harden on the objects and be more practical to use in an exhibition like enviroment.
the mixture inside an air tight plastic container and coated in layers of cling film – to stop flies, insects etc and to keep the material at a distance from others using the studio. i am unaware if keeping it in this condition will effect the rate it changes/decays.
From being told in past crits to explore more materials in my work instead of just one on its own I’ve collected items of food to be combined.
Exploring how materials change when they are amongst others
The items of food were chosen with no precision or intentional reasons
The implications that occur when materials aren’t in their original state. Can this be questioned though due to the beetroot as a material not being in its original environment; it being in a jar and in vinegar?
The mould in the jar wasn’t intentional, it occurred naturally without me being aware of it. I didn’t put the material into a certain environment with intentions of it changing.
Charlotte Paris 