End-Of-Term Exhibition – YEAR 2| RAYVENN SHALEIGHA D'CLARK| THEORETICAL

After the delivery of my box, I was overjoyed at the finished look of my exhibition box. Clean, with clear lines and white backing, I feel this will really suit the open room that I will be exhibiting in.

Placement within the box will be key to the success of the exhibition and I will experiment with the box once it is installed in the exhibition. Assembly includes the ball being fitted with drilled screws, flushed against the wall. The outer ‘window’ casing is slim into place, fastened using allen keys.

In terms of lighting, I will experiment with two light styles:

1 wall mounted lamp – yellow hue
2 adhesive ‘push’ button lamps – white LED (low voltage)

There are advantages and disadvantages to both types of lights, but I will go with whichever proves the best lighting to the cast, enabling the finer details of the mask to be seen in the low light aesthetic of the exhibition space.

I am positioned above a wall socket, so I have the ability to test both lighting styles.

The look I am going for is a ‘museum’ specimen type case, the face peering out into the darkness.

The box surface is slightly tiled, making the object inside more visible from a standing position. This will enable me lay the mask flat, hopefully from a (lower than average) standing position. However there is also the opportunity to stand the mask on the chin. This will be decided on the day.

(small rear fastening – by use of allen keys, means the box face can easily be removed)

Contents within the box can be viewed from 360 degrees

White backing will be a nice contrast against the darker backing

Two rear fastening holes that will be fastened to wall using drilled screws. This can also be easily removed during de-installation.

Installation:

(masking tape markers)

Entire walls space for my work, I can really maximise the eerie effect of the of my mask.

The hardest aspect of the installation process was fastening the box to the wall as it had to be nearly perfectly measured and drilled. This took two attempts but I managed to get he box near flush against the wall.

(Installed Box Base)

After doing multiple positions of the cat within the box, standing it upright was the best way to view it from its stationary position. Its position made it attractive within the space, working well to display the mask details and presented interesting opportunities when deciding on my lighting styles.

Against the white wall it is instantly contrasted, making it attractive within the space. With lighting, I feel light the cast will really pop.

(cast incased within the box)

Installed Box

(Installed Box, with Light – to the right)

An aspect of the exhibition I never planned for the display of the previous castings. After bringing them into the space in a labelled box (where I wanted to leave them for assessment), I decided that I was working with a lot of space within my corner, and so found a elongated table in one of the other storage area and propping it up against wall laid out the previous castings, alongside my research materials and electronic blog (on my tablet).

Depending on its reception from my tutor, I may or may not leave it for the Private/Public View on the evening of Tuesday 24th.

Testing the Lights:

What I wanted, in terms of lighting, is the directionality of the light and its ability to cascade over the mask, highlighting its finer details whilst not being too sharp to overpower the cast. When testing this style what was really nice about it was the way it highlighted ehe hollows of the eyelid, casting an unfamiliar shadow onto the mask.

Light sat on the forehead and chin, as well as the tip of the nose, really emphasising the textures and differing shapes of the cast.

Completely darkened Room: Actual Exhibition Conditions

Private View:

CHANGES: the user of duller build, effecting in lighting the mask but subtle in the room as a whole (white casing that restricts light from the bulb)

Use of QR Codes and labelling

CHANGES/THOUGHTS: Should of included Instagram Page or further information about buying work (est. price – £5,000)

Taking to visitors about work

(Model & Maker)

(Crowds around work)

Others Work:

Ground Floor – Disabled Toilets

Instructions:

Exhibition Instructions

PLEASE DO NOT TOUCH THE EXTERIOR CASING OF THE BOX AND LEAVE UNWANTED FINGERMARKS
Light – Turn on at Bulb base – THE BULB GETS HOT VERY QUICKLY SO PLEAS TURN OFF WHEN WORK IS NOT BEING VIEWED AS A WHOLE – EITHER FROM PLUG SWITCH OR LEVER AT THE BASE OF BOLD HOLDER.
Masks – Process of Development – Showing my work from initial Easy-Flow Casts and Monster Clay castings (half/full head) to later silicone casts – experimenting and failure. Undecided as to whether they will remain on display for the Private/Public View
Tablet – Displays 2 Blogs: Visual (minimal writing, selective posts relating to studio work and research) and Theoretical (all dialog, research, images, lectures and reading throughout the year relating to my practice and beyond) – Accessed by pressing the large button on the tablets side and clicking the browser button – the webpages are preloaded. If there is not internet access the press settings button a connect manually before pressing browser button – DO NO LEAVE ON CHARGE AS MAY DAMAGE BATTERY. TABLET WILL MOST LIKELY BE WARM TO THE TOUCH IF LEFT TO CHARGE FOR AN ELONGATED PERIOD OF TIME! IF THE BATTERY IS DEAD THEN ATTACH CHARGER AND ALLOW TO CHARGE FOR 5 MINUTES BEFORE HOLDING THE UNLOCK BUTTON FOR 5 SECONDS AND ALLOWING TO POWER UP. AT THIS POINT YOU CAN RECONNECT THE CHARGER AND USE THE TABLET. CHARGER WILL BE PROVIDED
Research Portfolio/Catalogue – Contains in depth annotations and research/research materials related to studio practice, detailing initial research in relation to Final Cast (i.e Preservation, Selfie-ism, The Digitization of Art Forms, Convergence of Digital Media in Art, Post-Internet Art, The Uncanny etc.) as well as selective imagery from studio practice leading up to Final Cast, including Research Artists and Exhibition Visits, Exhibition Plan and Bibliography
QR Codes – 4 Codes throughout book relating to aspects of studio practice unseen to a wider audience: these include GIF of Final Cast, Poll relating to final cast, Link to both blogs (2) – REQUIRES QR CODE/BARCODE SCANNER
Cream Folder – containing printed materials relating to External Exhibition (2015), Eval. Form with Artist Statement, Dissertation Proposal, End of Term Preparation Materials: Plan of Action, ‘Drawn’ Exhibition plan, Tutorial Forms (Jan/May) and Annotated Research Materials.
Table of Masks may or may not be maintained for the Public Exhibition – undecided as to their relevance to the larger Public