Sheffield Hallam University

Today after finishing painting the boards I attempted to place the drawings on the left edge instead of the alcove considering Gary’s advice.

This position seemed more commanding of the space and utilized the whole room. When placing the drawings in the indent it was too close to the door and would be bypassed by the viewer as it existed in an awkward place.

Another difficult task was getting the projection to fit the drawings. Even after cutting the drawings to the specific size of the projection the sizes did not match perfectly.

Yesterday involved helping Jim set up some spaces in the basement studio’s as his colleagues left work at 5’oclock. Being part of making the space for others felt a worthy investment of time, seen as once finished with their space’s I would be able to help Jim build my own.

Just before 8’oclock this was managed and I did some preliminary sanding and filling before applying the gum strips and letting them dry for the night. Helping alongside was a few other students as well and this atmosphere was productive and informative on processes such as good painting, taping, etc…

I have had also had another thought concerning the space I intend to occupy with my drawings and film. I spoke to Gary and he seemed to question being set on using the alcove. Obviously due to unseen circumstances this alcove could not be towards the middle of the wall due to the requirements of shelving and storage.

My initial plan was to place a curtain to block any direct let that would filter through the doorway. However as Gary pointed out, utilizing the flat middle of the wall would help command the space more efficiently. Understandably Gary said he didn’t know the context of the work with the film, however after painting both walls, I will have some time to negotiate the most successful mode of display. The edges of the drawings have been kept as sharp, sanded down and painted as possible so placing on the flat wall, more away from the light may be more appropriate.

‘I am writing about, I am living in, that block of the Pennines made of millstone grit, and ringed with the Yorkshire wool towns to the east and the Lancashire cotton towns to the west: those towns whose lights at night dance in little cups and hollows between peninsulas of the moors, from which they look like safe little harbours. (Or they are like the lights of ships which, with the stars, continuously puncture one dark fabric of the world and its sky.)’

Glyn Hughes, Millstone Grit, London: Victor Gollancz ltd, 1975

The imaginery dark vistas which Glyn Hughes describes feels an apt description of the rolling hills resemblance to huge sea waves and the long dark. This example of writing which turns something physical which I know into a different place is something I would like to work with following this latest final project. Hopefully what I have just done may be prematurely suggestive of taking this next step.

Another variable to consider is glare visible on the drawings. This is usually only localized where pencil is used on the drawings. Removing this factor would be preferable as it can be a distraction and even a hindrance to the viewer.

In the experiment done the other day, when the drawings were placed higher up the wall some of this shining disappeared. I figured to remove it more completely the drawings would have to be slightly tilted. The bottom of the drawings would come out of the wall a bit more. This will have to be Incorporated into the baton hanging on the back.