Yeah. So editing, right? It’s gotten to the stage that this is an increasing priority. After deliberately trying to stay open-ended about processes and ideas, my MA exhibition opens in just over two months and there is a limit to how many pieces will work together in the space I’ve got, and how many I can realistically make.
I’m showing in the Hatton Gallery, which as far as exposure is concerned is a bonus, as this tends to get the most foot-fall. However, the distinct drawback is having five days to install, and only 9-5 at that. Now bearing in mind it took over a month to install my interim show, and that was generally working 9-10 most days, you can see why that might be causing me a few anxieties. And that’s not to mention Schwitters. The Hatton Gallery has a permanent installation of Schwitter’s Merzbarn, which adjoins the space I’ll be using. This causes difficulties whatever exhibition is installed in this space, as Tyne and Wear Museums dictate that it cannot be covered in anyway, and that the large green information panels remain in place. So you’ve got the choice of ignoring it (pretty difficult) acknowledging it, or in my case, using it as an instrumental part of the installation I’ll be making.
The reason I’m going down this route is for several reasons – as a use of the space it suits the way I like to work, but more importantly, there are echoes of the Merz in work I’m making. I’ve taken a carpet from one environment (in this case a domestic one – the first Merz was created in a domestic space), and am re-locating it to another. Schwitters also made incorporated lots of pre-existing objects into his work, again, similarities here.
Continues…
