And here is my work in Lizzie Donegan’s home.
I sent her bird drawings on vellum that was scored, cut and punctured so it could fit together with small grooved sticks.
The vellum had a life of it’s own and wanted to twist and curl, I encouraged that.
This is what she did with it.
Time to pack down the exhibition. I spoke to Lizzie Donegan yesterday to compare notes and the question of who the artist is came up. With my work I absolve responsibility to the birds and elements, or to sounds or anything intangible I try to capture. Once the source data is has done it’s job I then make some creative decisions about the direction it needs to go in. I like to think of this as a collaboration between me the artist and the other actors in the network (thank you Latour).
For the Tiny Gallery I played at letting the cats as technical staff make decisions about the artwork. Looking from their perspective where an A4 sheet of paper took up a whole wall, opened up new ways for me to see the work too. When the cut out paper roof came down it folded beautifully into another installation with fluid lines and expressive shadows. I’ve really enjoyed the contrasts of scale the Tiny Gallery affords.
The technicians found some nice industrial flooring, they set up the artwork Lizzie Donegan sent me as part of the art exchange and we opened the show.
I’ve used the paper cutout as a ceiling for the tiny gallery, the light going through it gives a sort of underwater feel I might experiment with later in the week.
And then, later on, the building inspector arrived.
