To start off this group project of coming up with a design for the summer show 2018 and pitching the idea to a panel, I have been looking at some exhibitions to see how they display work/ present it/ write about it/ label it/ guide you round the space/ design the exhibition guide etc. I have so far been to three different ones: Barbican, Saatchi gallery and The Whitechapel gallery and what I have come to think of as most important and what I look for as soon as I walk in is signs. Wayfinding. Especially noticeable (or not noticeable actually) was the wayfinding in the Basquiat exhibition at the Barbican. Consisting of a small map with one arrow, a lady that tells you to go upstairs first and a tiny tiny sign on a shadowed part of a wall reading “exhibition starts”, you’re supposed to go about your way hoping you’re making the right turns. Well, wrong turns were made, the lady directing people up the stairs had to chase after some who started wandering about on the ground floor first and people kept bumping into each other trying to find the most logical route to go.
Our lives in data currently on at the Science Museum is an exhibition about how data is in our lives at all times. As human beings we not only absorb information, we are information. Our structure is information, our habits are information and our interests are information and everything we do can be recorded, collected and analyzed for better or for worse. An interesting topic that could invite to interesting thoughts and discussions but the way it is presented at the Science Museum leaves much to be desired. Despite the heaviness of the subject, the exhibition stays very light and airy and so short that it doesn’t have time to go in depth at all.
The best part of the exhibition, for me, was the display on Dear Data, a project by Giorgia Lupi and Stefanie Posavec that consisted of the two of them sending each other one postcard a week were they recorded and visualized (in the form of drawings) different data they collected from their everyday life. If the exhibition would have consisted more of those types of interpretations or critique on the monitoring of our data I think it could have been more interesting as the topic itself is very provoking. As it is, I found it quite bland and too tech centered.
Singing sneakers, a goat in a ravine and imagining oneself as bread; the Welsh artist Bedwyr Williams’s exhibition “The Gulch” at The Barbican is a walk through strange. Led from one room to the next, the artist takes us on a journey from beaches, restaurants and board rooms- trough built scenes set in dim lighting with no explanation as to what we’re looking at. It’s magically bizarre and I wish the experience went on for longer.
With a Kubrick vibe but maybe less dark, The Gulch is an exhibition I recommend. Go and listen to a man telling you to imagine yourself as a piece of dough. A dough man with different types of breads as your limbs, rising with the hot flames of the oven. Growing crisp and toasty. I for one couldn’t stop laughing.
I find it hard to be creative when I don’t like my surroundings. Sure, creativity and ideas can come at any time and place (on the tube, at night, shopping for groceries, on a walk) but working productively, for me, requires a good space to work in. What makes a good work space are different things for different people but I’ve thought about it and I think the key thing for me really is lighting. It sounds a bit strange maybe and of course I wouldn’t cram myself up on a windowsill or anything just because the light there is good but what I mean is poorly lit rooms gives me headaches (and I’d rather not have headaches).
I love sculpture, really. Especially outside where it’s a bit unexpected and kind of a treat to stumble upon (not literally haha). On right now at the Serpentine Sackler Gallery is London-based artist Helen Marten who exhibits screen printed collage style paintings alongside intricate sculpture installations packed with tiny details you only notice after going up close, but also a metal line (in lack of a better word) that runs along the ceiling of the exhibition space only to end up in a jumbled knot at the end.
At the Pick Me Up graphic arts festival I went to a couple of weeks ago I saw some work by illustrator Emily Rand that I really liked. She mostly specializes in children’s books and her illustrative style is very simple and clean. I love how the images look so flat because of the style she uses but also how much detail she lays in different textures instead and how many of her images are drawn without a black outline keeping the different patterns together, see for example the most recent pictures on her blog. Her riso prints are stunning and everything she does is very playful!
I wasn’t bad, but I didn’t love it either. There were some highlights of the Ray and Charles Eames exhibition at the Barbican, my favorite one being the pattern design of “Crosspatch” with its simple geometric yet crooked colored squares. I also quite enjoyed the playfulness in graphic design in some of the commercial leaflets and exhibition posters. The continuous use of the colors red, yellow, grey and black.
I’ve always liked life drawing. Everybody’s concentration is amped on max and the silence is absolute. It’s also amazing drawing practice of course. Last week I went with Jessica to a class and one of my 30 second drawings came out so funny I just had to play around with it some more. So I made three posters!
If you dive down into the sea of typefaces, you may not surface for a very long time. The subject is one of those that just seems to grow the more research you do on it. Working with visual communication, choosing a typeface for a project can be a long and arduous process because if you’re not “feeling” the type, it just won’t work. Some typefaces that fit perfectly for some projects could be disastrous for others.