The exhibition will include a variety of works including both participatory and individually composed pieces. I would love to have a workshop set up alongside the exhibition itself so that the audience can involve themselves into the nature of the exhibition, and question what perspective really is. I would display the works orchestrated from each workshop I had organised, followed with works of my own which document the words spoken of each person I had interviewed. Experimental works would be included, allowing the question of the works to be manifested and absorbed.
The participatory works could be screen printed and made into a wallpaper backing for the exhibition workshop, allowing work to be displayed and created simultaneously. Experimental works made without my sight could all be clubbed together, adorned by LED lights, which will then continuously change the colours shown across the paintings. The documented series will include both paintings and prints, each will be displayed over a wall, the printing blocks will be kept and placed over a table, inviting everyone – sighted or not, to touch. As I want this exhibition to be inclusive to all, and eradicate the evident democracy displayed in the art realm; I not only hope to instigate feelings of touch, but additional senses. I want to stimulate as many senses as I can for my audience, some works may display insects and sea creatures, to further elaborate on the work, I will collect some sea water to smell, record the waves of the ocean crashing against the rocks, bubbling and dissipating against the hot sun and the strong winds. I want the viewer to transcend into a different world, to feel the artwork physically and mentally. I want everyone to forget the visual physicality’s of the artwork, and instead experience the work to its core.
- The exhibition will be about our relationship with perspective and how it can be changed. This will be shown through a variety of experiments, both workshops based and as an individual. Some elements of the exhibition will be adorned by various lightings, causing the works themselves to have a permanently eschewed ever changing perspective, allowing room for further juxtaposition.
- 4-6 of the documented art series discussing the words spoken by those I had interviewed. A multitude of prints of all types, mainly collagraph, lino, blind print/ embossed surface, fabric screen printing with heat reactive puffy ink and etch both dry point and acid type (potentially, I’m just starting out on acid etching next week, hoping to have a few pieces) There may be a few monoprints and collages, just to narrate ideas in the process of the construction of things on a larger scale, but the prints are primarily heavily textured induced.
- Sound, texture and smell station to be combined, perhaps over a shelf, two speakers, segregated from the other works and the ambience of the location, no headphones due to hygiene.
- Location of the exhibition could vary; I have a few ideas to propose. Exhibiting for the blind society in their building, Frederick Street Gallery, great location being in the centre of the bridges, I could set the workshop up in there alongside the exhibition, Ken is a huge fan of participatory based events and painting as a public display (painting in the window) I also know that Frederick Street have organised charity based events in giving proceeds to various organisations, and this could help raise money and awareness for the blind society. Another gallery, completely unrealistic to my other ideas, is the Camera Obscura based in Edinburgh, a particular favourite of mine based off of the surrealist scene and the curious oddities of perspective and optical illusion, I feel my work could have a place there, perhaps located on the ‘Bewilderworld’ floor, allowing the audience to be immersed into the warped perspective and everchanging display of lights shown through ‘The vortex’ An attraction which displays tunnel vision quite well.
- Audience… Anyone and everyone. There is no target market or particular demographic for this exhibition but everyone. Of course, it is about the blind, but this exhibition is to raise awareness to the little light shed on art displaying inclusivity. Rather than the art industry following a literalised pinhole view of an audience, assuming everybody is sighted, I want to extinguish this old, democratic way of thinking, and create work for every sense. Art should be immersive, and that’s what I hope to portray.
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