Artworks are made for display it is logical therefore that display become a part of the overall design idea. This can often be a greater consideration when working with multiples rather than singularly. This approach is quite different from ‘space as an aesthetic property’ as it is not necessarily concerned with performative, dramatic installation but rather simply dictating the particular order a work be shown according to surface values, negative space, sequential stages etc.
As a developmental strategy making for display should be considered carefully as it is often a dictate to a viewer. Consideration needs to be in terms of how appropriate the dictate of order is to the overriding theme or qualities of the work.
Surface was of particular importance to nisha as she had examined qualities in many different ways throughout the development of her ideas and wanted to demonstrate a variety of outcomes in her exhibition. She developed an image she could enlarge across several pieces to compliment her single pieces of table-ware.
Jenna’s exhibition displays multiple narratives rather than a single collaborative theme. The works have common traits using found objects and altered perspective but each work is independent of the others. This format suited the subject of her work creating imaginary, secret worlds of fantasy. When each of these scenes is bought together it is almost as if we are entering different dreamscapes or being told a range of enchanting fairytales.
A body of work often presents a range of subtly different ways of exploring a single or similar theme. Each work will display similar aesthetic values but perhaps with differing proportions or emphasis. Within an exhibition this format can lead a viewer through the work, the repetition of certain motifs becoming quickly familiar and allowing new information, subtle differences between each piece to be easily noticed and appreciated.
As a creative strategy in the development of ideas, permeations on a theme allows a clear structure in which to explore and organize ideas and to reach a depth of understanding sometimes lost or confused in single pieces. There is liberation from one piece having to carry all your ideas at once instead, possibilities can be spread out across several pieces or small bodies of work each concentrating on subtly different aspects of an idea. This approach is most affective once initial work has begun as it is often from realization that others possibilities arise, consider your ideas as developing thematically, one thing building on the results of the previous. You should then be in a position to be selective as to which pieces or groups give greatest emphasis to your ideas for exhibition.
Jess was interested how many things she touched in a day and building a visual diary of those often forgotten and fleeting moments. As a theme, this idea lent itself naturally to different groupings such as objects touched in the morning, at lunch, on a walk etc. However, she was also interested in the tactility of those experiences. She found ways of drawing and constructing in clay that conveyed a sense of physicality and immediacy and created three bodies of work 1) a book to show the relationship between the objects and her physical exploration of them as if through her fingertips 2), a panorama of small objects to account for the frequency of these experiences throughout a day 3), single larger objects to demonstrate actual size and act as a textural and visual account of her experiences.
Anna was interested in creating an atmosphere around her works to evoke thoughts and feelings that would enhance appreciation of her individual pieces. Displaying her work almost as if in a theatre-set, within an alcove, using floor, ceiling and the space in-between offered a dramatic and animated scene to showcase her work.