I’ve arrived in Sheffield for the installation and exhibition of my final project with odd sized and fragile parcels in my hands and strapped around my body. A parcel of large photographic prints had to be stashed in First Class on the airplane after asking the onboard attendants very sweetly to care for them. I also went through security and customs with a roll of duralar film duck taped to a broken strap and then the roll of duck tape, which I was wearing like a bracelet disappeared by the end of the flight. I’ve also got two of the props from the shooting of The Healing Room to install as sculptural found objects in a nod to the interest in and display of props from popular films and television series. I do think the addition of these works will round out the installation of The Healing Room and position it clearly as a contemporary art project, not just an experimental film.
As suspected, the install at Bank Street is evolving as I respond to the space with the various artworks I’ve completed. The experimental film, The Healing Room, is the central focus of my installation. Assumptions have been challenged and I’m not setting up the work like I thought I would. On a positive note however, there appear to be some good plinths and other tools.
I will be showing The Healing Room projected in a corner as planned, just not the corner I expected. There is also enough texture on the wall and a “step” in the vertical plane of one wall such that I may not need the durlar scrim to create texture after all.
Lighting and sound appear to be my biggest problems. The sound is lacking bass tones I could here in my stereo system at home through the speakers provided which I think takes away from the resonance of the soundtrack. I may need to look at the sound track file one last time.
I’ve selected one story board to show as part of the exhibition out of the 6 that were printed. The single story board has been rolled up for a few days so that it can unroll like a drafting plan and place on a large rectangular plinth I found at the gallery. This story board I’ve selected I believe to be the strongest of the 6 and showing stills from part of the film that the other larger photo prints I’ve selected do not show.
I’ve selected three portrait oriented large photo prints to hang as a triptych. The three images are the ones that work the best together in this format. The golden and green palette is also working well in the space. When the rest of the install comes together tomorrow I will decide on whether or not I hang one final large photo either above the storyboard or next to the moving image. Lighting will have an impact on this decision.
The “props” from the film are set on individual plinths. The drum head I am suspending from the ceiling like an abstract monochrome painting. The metal lock box will be treated inside with black oil paint to create a bookended monochrome painting that evokes the spirit of Claude Lorraine mirrors — an inspiration for the way in which I’ve chosen to compose and install the moving image.