For our formative we were tasked with creating a design for our exhibition. Currently I’ve been designated a space somewhere in the reception area with the concrete and glass walls. Will helped me put together a digital mock-up on Rhino of what the area might look like. I’ve taken inspiration from Ranti Bam’s display at Golbourne 50, a gallery that showed at Collect this year. The Nigerian born artist’s colourful clay vessels were displayed on individual plinths of varying heights so that you could walk among them, reminding me of trees in a forest or standing stones.
I’ve decided, depending on space, I would like five or six of my best pieces placed on individual plinths in this way. I also thought rather than having white plinths it might be an idea to leave them unpainted. For one thing, in the concrete space with a wooden skirting board, white plinths might stand out like a sore thumb rather than being the almost invisible props I need them to be. Secondly, the idea of my vessels is to celebrate the way they are made, not hiding joints and traces of the process but exaggerating it. Having a plinth on which you can see the joints and screws in the surface might add continuity to this idea through the display.
While visiting London for Collect this year I also visited the Franz West exhibition at the Tate Modern. Interestingly the plinths and rope barriers for the exhibition were designed by the artist Sarah Lucas who was a friend of his. The MDF plinths with what look like thermolite breeze blocks on top are certainly a statement as are the rope barriers in poppy, sweet-shop light blue, pink, yellow and green, characteristic of West’s more recent work. The colours reminded me very much of Sam Bakewell’s ceramic pieces which I had seen the day before. I though the MDF was an unusual choice until I read about West’s collaboration with Heimo Zobernig who specifically chose tones associated with offices and institutions.
The exhibition followed West’s artistic development in chronological order, beginning with his ‘Passstück’s’ – objects with which to play and improvise with as physical extensions of the human body. His next work almost referenced the ceramic art of Gillian Lowndes in it’s mixing of materials, metal and clay for example. He called this later work ‘legitimate sculpture’ as opposed to the ‘interactive sculpture’ that came before. He thought of his newer work too as interactive sculpture, welded together and painted with the sickly green of old hospital walls. The tacky-looking surfaces reminded me of the latex-like texture of my own work recently glazed pink vessel.
I like the idea of displaying my work on concrete breezeblocks and have found very cheap/free material available on gumtree and facebook. However, I feel that as I am moving to a new rented property soon and don’t own a car to transport the bricks making plinths of some sort appears to be a more practical option.