What next?

Had a useful session with tutor today on what is actually required for the hand-in date of Monday 16 May at 3.00pm.  Dare I say that most of this is in hand for me but I do have an issue about hanging the panels.  Have highlighted the area which I will use :

Hanging from either of the two cross beams of the A supporting the roof in Ruskin Hall.  All work-in-progress will be removed so I have been looking at different ways of securing the panels.  Have rejected wood/bamboo canes; thin metal rods; curtain rods; curtain header tape with tabs over the A.  I am currently investigating thick white cardboard through the tabs I've made at the top of each panel with fishing line attaching them to the beams.

Watch this space!

NEXT YEAR ....

I have been reading up on the Psychogeography and I definitely want to continue next year with the Block Idea working on Defoe's ideas in his seminal work A Journal of the Plague Year where he blends fiction and biography .... local history and personal reminiscence.  I have also been researching methods of print from Installations & Experimental Printmaking by Alexia Tala where artists like David Rhys Jones are referencing Charles Baudelaire and the flaneur as a detached observer of the modern metropolis - Jones prints photos onto ceramics.  http://www.davidrhysjones.com/ 

His work Spitalfields 2006 is described thus:  "This journey focused upon ChristChurch, Spitalfields and the surrounding streets. The church was designed by Nicholas Hawksmoor in the English Baroque manner and was built between 1715 to 1729. The church sits in an area of London that has a rich, sometimes dark history; and still retains an 'aura'."   This references the urban gothic often linked with Psychogeography although the term is loose and can encompass many areas.

Another artist I found interesting was Janet Curley Cannon who works with inkjet transfers and mixed media.   She says of her work : "My art is an observation of the here and now as gleaned from the surfaces and structures of the urban environment.

"I'm interested in the overlooked and the everyday, places on the threshold of change. I use the visual ephemera from forgotten surfaces in order to capture and convey the interests and concerns of contemporary life"  www.janetcurleycannon.com

I will be able to use my 'ruined' inkjet images with pure turpentine to transfer onto wood and other materials.  Another option is to use InkAid Medium which will work with any surface that will absorb it.  I think I will 'collect' scrap wood and try out the technique.

Quote from the book p8 "When artists show their work today, they do not intend to technically educate; they want to communicate their ideas to highlight their concerns". 

I'm quite excited about the possibilities for the summer.