GALLERY/ SPACE

K6 GALLERY

K6 Gallery consists of two K6 model disused telephone boxes on Castle Lane, Southampton. Creating a gallery space from an object that was built for a singular purpose has made K6 an intriguing and individual venue for art. The constantly changing displays have to physically adapt to the space, challenging the artists and promoting not only individual and unusual ways of exhibiting but also providing an engaging space and bringing art to the audience, fully emerging a gallery into the streets to allow the audience to discover the artwork for themselves at leisure.

GODS HOUSE TOWER

Gods House Tower is a converted look out tower and church located by the docks in Southampton. Adapting this space into a crisp, white walled exhibition space transforms the history and character of the building, rejuvenating the space and allowing the audience to fully emerge themselves in the history of the building and the city. Juxtaposing the contemporary and historical.

John Hansard Gallery

Haroon Mirza: Waves and Forms

Abducted by aliens, yet feet firmly on earth – this can only mean one thing: dreaming. Haroon Mirza’s Waves and Forms at the John Hansard Gallery transcends our very consciousness into another dimension. This is the very purpose of the show, Mirza states, the installations allow us to let our minds drift from reality, and each room toys with our senses. 

Indeed, it is almost impossible to comprehend anything outside of each room, as pulsating hummings warp our minds and allows no space for internal thought. The way Mirza’s installations manipulate our senses is most apparent with the hypnotic Dream machine,  which plummets us into a state of chaotic meditation – unsurprisingly, as his work is described as a coalition of ‘physics, shamanism, artificial intelligence and astrology’1. It is like you’re on your seventh coffee of the morning and ready to fall into a deep comatose sleep at the same time. In contrast, it almost feels like stepping into a tranquil peace garden when entering Pavilion for Optimism, where the crisp white surroundings and non-parallel walls allow us to be encompassed by echoes that we can control, allowing us to take as much or little of the room as we want.

Throughout the show, there is an indescribable feeling of safety and other worldliness within each room, whether it’s the soundproofed walls, beanbags, lack of natural light (for the most part), or noises that can only be reminiscent of running a long bath after a hard day, even the harsh flashing lights can’t stop the mind entering a dreamlike state.
1 https://www.jhg.art/event-detail/433-haroon-mirza-waves-and-forms/

Haroon Mirza: Waves and Forms at the John Hansard Gallery, Southampton, 19.10.19 – 11.1.20.

Winchester Gallery

Come and go. Halt extreme left

An exhibition is not merely complete when set up, it is the beginning of it’s journey, the start of the story that only we, as the viewer, can conclude. An exhibition, Ralph Rugoff states in Paula Marincolas What Makes a Great Exhibition is a form of escapism, a small interactive distraction from the everyday. The viewer can create their own ideas, stories and opinions without distraction from reality – a mini utopia. Come and go. Halt extreme left at The Winchester Gallery allows us to step into the drama of conventional builds and architecture, constructing a theatrical stage to be welcomed onto by Stephen Cooper, Bernice Donszelm, Vanessa Jackson, Mary Maclean, Jo McGonigal, Tim Renshaw, and Helen Robertson who question if our surrounding environment can be perceived as histrionic.
The eclectic mediums on display engage our senses and deliver an aesthetic pageantry. Pondering the introductory statement upon entering, the eye is immediately drawn to Vanessa Jacksons vast juts of colour before being dragged away by Jo McGonigals flashing light, in turn tunnelling down to Mary McLeans print, which in itself is presented as if on a stage of its own. Turning your back from the channelled space we are presented with the length of the gallery with drapes, structures and paintings staged before us edifying our interest further into the exhibit. The ongoing intrigue that the artists have prepared for the audience allows us to question the theatrics in everyday architectural surroundings, and stages a catechism we can take from the exhibition, ‘an in-between situation that linked art, design, architecture, bringing people into a dialogue’ (Obrist, H. U. (2014). Ways of Curating. Great Britain: Penguin Books. (p.61)). Coming back to reality from the show with bombarded senses, we aren’t leaving with answers but starting a journey with more questions, debates and ideas than entering, the story is our own to conclude.

Photographs by Emily-Kay Kemp

KNOWLEDGE

What does the library mean to you?

What does the library mean to you? Knowledge.

As part of the library induction we were proposed in groups to curate a visual representation of what the library means to us. Collectively we deliberated and landed on the word knowledge – the contents of a library gives us infinite knowledge, research and learning.

Our visual representation attempted to reflect this. Choosing a selection of books from a multitude of subjects to showcase the diversity in academia that the library offers. Using the computer to represent how a libraries resources aren’t purely on the shelves (our access to online journals, magazines and even online books provided by the library).

The physical layout of the books we displayed was an attempt to draw the audience in a direction to and from the computer, linking both key resources that the library has to offer. The loosely strewn books on the table representing how knowledge is expanding and not something that exists in a neatly organised structure.

Our collection of books ranged from academic writing to Chinese studies support book, showing that the library isn’t solely about gaining knowledge – it is also about the support it provides.

This was the other groups visual representation ‘Ocean of Knowledge’ – representing the ocean with the colour scheme and how knowledge isn’t contained to one subject area.

SOUTHSEA GREEN EXHIBITION

WILD AT ART

“[…] alternative spaces, where a quicker response time, more curatorial autonomy, and less financially onerous stakes allow for a concomitantly greater ability to experiment and take risks. […] – bigger is not necessarily better.”

What Makes a Great Exhibition; Introduction: Practice Makes Perfect, Paula Marincola, 2015.

The Southsea Green exhibition has been a great experimentation in curatorial practice. Playing with the outdoor space, adapting to the weather, placing the artwork within restraints of a working garden, and issues with advertising, we have been able to modify accordingly to each issue raised.

Throughout the exhibition we have been very reliant on the weather, thankfully for the first part of the week it was incredibly sunny – not only to draw in the viewers but also to best emphasise our work. However, the past two days have been dramatically sparse, with the rain deterring many people off walking through the park or going to the beach – this being our biggest viewing demographic thus far. On reflection of this we should have prepared for ill weather by having a back up indoor space to exhibit, as our work was solely outside. There is a porta-cabin on the premises, however when we first approached the space we didn’t like the confined rigidity of exhibiting within the dark walls and were more excited by the prospects of the overgrown garden. This being England however, we should have foreseen bad weather and prepared the porta-cabin for use in case of this exact eventuality.

Alice Harman’s ‘Lolly’ Hidden amongst the vegetable plots in the garden – to access this piece it was necessary to enter into the plots and become part of the garden.

Although we designed a poster for the exhibition we regrettably left it too late. on reflection we should have designed the poster at least a month before the exhibit and placed it on social media as well as in the surrounding area. The garden is surrounded by a park, however there are cafes and pubs as well as shops very close by which would have been a great place to put flyers or hang posters to attract local people. Despite poor advertising the show did have ample visitors on sunny days, mostly people would come in from the park seeing the sign for an exhibition and leave not only having viewed the art but spent quality time exploring the plot and unwinding from the bustling city. Many people commented on the relaxing environment and it gratified our concepts for the show.

In this image you can see my illustration in the left foreground hanging from string and pegs already in place, Alice’s ‘Shoes’ are also seen slightly further back on pre-existing rope tied from floor to ceiling. This is one of the spaces I was most excited about exhibiting in – the polytunnel was full of string suspended throughout which I felt was perfect for my illustrations as they represent informal scenes.

Despite the failures we had during the exhibition, most notably the advertisement and lack of adaption to using an outdoor space (both of which will be attended to in greater detail for the next exhibition) I believe something we should have also done is exhibit more work. Although we believed we had displayed enough, the space was rather large and so some of the works got a bit too lost and were not visible to the viewer who spend on average 7-10 minutes within the garden. If we had a greater amount of work, perhaps they would have been easier to spot and people would have spent more time wandering around appreciating the tranquillity of the garden as well as the artwork.

SOUTHSEA GREEN EXHIBITION p.10

Final poster/ flyer design:

Alice and I decided on the name ‘Wild at Art’ for the exhibition due to the locality. Putting art within the garden space, outside of a gallery and white walls.

The exhibition will take place at SOUTHSEA GREEN, CANOE LAKE, SOUTHSEA, PO4 9RF between the 15th-22nd of July.

Contact me for more information – florencekitty19@gmail.com

SOUTHSEA GREEN EXHIBITION p.9

I have regrettably left advertisement for the show very late and only just started designing a poster for the exhibition. We wanted to incorporate the theme of the show being based within a garden on the poster as well as making it eye catching and simple to engage potential goers. This is the first idea for a poster/ flyer to print and post online…

I wanted to use bold and contrasting colours to make the poster stand out – the shocking pink makes the green eye catching. Keeping the whole design simple, this will be the extent of the decorations on the poster.
The third and final colour used is gold, it adds further texture to the image however I am unsure how this colour will look when it is reproduced – the gold may not be shiny once scanned or photographed.
This is the final first idea for a poster, although the image does not show the gold the colour contrasts work well to make it eye catching and the simplicity of the information on the poster will hopefully make it easy to read and understand.

ONION ILLUSTRATIONS p.7

ICARUS (trilogy)

I really liked the Icarus trilogy (as shown in p.4) and wanted to expand the illustrations further, not only by using colour and a canvas base, I also used a larger size, the A3 boards make the paintings stand out and emphasise the blue and gold colour contrasts.

(Part. 3 Icarus as seen by a bird is still a work in progress)

ICARUS (ascending: painting)
ICARUS (descending: painting)
ICARUS (as seen by a bird: painting) – WORK IN PROGRESS
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