So bringing together autobiographical content with the process of collecting, organising and displaying objects is my current challenge. I need to find the balance between the two major elements of ‘concept’ and ‘process’.
SELECTION
In order for me to represent a sense of autobiography, do I use existing collections of objects that surround me on a daily basis, or do I intentionally seek out otherwise irrelevant items that resonate with me for particular reasons? Obviously I can do both, but this issue of selection seems to be a re-occurring obstacle which requires further thought and experimentation. At this stage, it seems like it would be a boringly literal form of self-portrayal, if I was to simply display an array of personal effects within an installation or ‘gallery’ like space. Although this would definitely be self-referential, I feel that it would be somewhat lacking in process. Could the objects be appreciated for more than just my ownership of them?
Yes, I am already surrounded by existing collections of objects that would communicate a sense of identity, for example; knickers, teacups, feathers that I found interesting on walks with the dog, photos, letters, coins and foreign currency I collected as a child, old birthday cards, jewellery, etc. Admittedly, all these things would convey a sense of personality, time, memory and possibly more, because they belong to me. But, could the limited process of simply taking an object, or collection of objects out of a personal context and placing them within an artistic one, allow the viewer to appreciate more than just ownership and belonging? Is it too literal or obvious?
This line of enquiry makes me think of Tracey Emin’s My Bed, (an artwork I referenced in my dissertation). As far as the viewer is concerned, Emin did not physically change the objects in anyway- the main element of alteration occurred within the bed’s context. Each thing (the vodka bottle, the skin coloured tights, the packets of contraceptive, etc.) collectively portray an autobiographical content, you cannot deny the object’s authenticity, but the point of interest is that other narratives and underlying emotions can be read from the piece; human fragility and weakness, private actions and secret thoughts; the viewer can appreciate more than the simple fact that they belong to her. We as observers can notice things in ourselves, moments from our own lives that can be remembered as a result of looking at this intimate scene.
In trying to relate this to my own working practice, I laid out some of the collections mentioned above- (the coins, and knickers). In attempt to stay true to the idea of multiplicity and repetition, I feel that the collections just aren’t extensive enough to have any real impact; I think they would only work if the amount was at least quadrupled. Then there is the issue of how to display the objects- I am sure I can make a more successful installation that consisted of such items if they were presented in an interesting way. Even though the tutors keep stressing that I shouldn’t be thinking of the degree show or any ‘end pieces’, I can’t help but want to experiment with how the collections are presented- isn’t this what the medium of installation is all about- working within a space?- Using the dynamics of a space together with its chosen contents to communicate a concept? How can I move forward with my installations if I do not investigate this issue of presentation and display?
