Setting up the exhibition
In this exhibition, I felt more comfortable with the work to display as I felt that I had the opportunity to engage with a topic more in-depth. As in the previous submissions, my work was focused on chance, I decided to display some of the images that I found more successful. Whereas in the previous exhibition, I decided I did not want to display very large images, in this exhibition I felt some of the outcomes should be exhibited in a large format. The rationale behind that is that the droplets are actually quite small so by changing the scale the “water sculptures” might be perceived differently by the beholder. The change of the scale helps to decontextualise the droplets so that these can acquire a completely different meaning.
As in the previous exhibition, I decided to print my images in fine art paper as I thought the quality of the prints is better and it gives a more painting-like effect to the photographs playing again with the ambiguity in my visual imagery approach.
Having the opportunity to display the images allows the practitioner to complete the whole process in the artistic creation of the images. Unless the images are printed and displayed, most of the time this would remain in digital format. Hence, it is difficult to see how each photographer would envision their work.
To install the images, I brought my exhibition plan as well as the different materials to ensure that I could not damage the images and that these would be displayed appropriately
The final set up of the exhibition can be found below:
As it can be seen, the larger images decontextualise the droplets whereas the smaller images invite the beholder to find similarities in the patterns and the shapes obtained. The statement written for the exhibition can be read below:
During the presentation, I brought some images printed so that they could be used as referents when I was explaining the different concepts and processes followed. These can be seen below:
Further Reflection on the Interim Exhibition
I received really positive feedback from the exhibition from my tutors and colleagues. Some important aspects of the discussion focused on the aesthetics of the images and the selection. The aesthetics of the images were discussed as something magical and created rather than taken. In fact, I would describe myself as an image-maker rather than -taker. I enjoy creating the sets and imagining the image to then trying to achieve it. I was suggested to look at the Quay brothers animators. In fact, when I have explored their stop-motion films the aesthetics are similar and it is clearly based on German expressionism. I have never heard of them before so I was grateful to receive suggestions of further sources of inspiration. Concerning the choice of images, I was asked what makes me decide what works and what doesn’t. This is a very pertinent question, especially considering that methodical chance is based on multiple repetitions in which outputs may differ only in small variations. I feel the act of choosing rules out chance and brings back agency. This is definitely something to continue reflecting on and to show in the journal.
The exhibition was a great opportunity to see the work undertaken by my colleagues:
The exhibition showed the evolution of the work. I could see how everyone explored additional processes and experimented with either the processes or the display of the work. Looking at the work of others I also reflected on the role of chance in their work. For example, the work undertaken by one of my colleagues based on the collection of small branches can be quite determined by chance or for example when using coffee to dye the work. It might be difficult to predict what the final work can be. I thought that somehow chance could underpin most of the work displayed even if the creators were not totally aware of it.
Alberto Gonzalez 