Now I am at a point where I have produced a series of different work that address various issues and concerns I have, but I need to consider how all the work will be displayed in a way that looks like one cohesive body of work. Taking a step back from everything I’ve produced I have realised I have 3 main sections to the work I want to exhibit, as listed below:
- A series of photograms – These offer more of an objective view of the subjects I am depicting within the image. When I initially started the project I want to use objects that were universal to a wide audience outside of the LGB community, as a way of addressing issues that face this demographic. Photograms have been a very appropriate medium to this with, as Gerry Badger described them being both “figurative and abstract at the same time”, a contradictory statement that works well for my intentions. The objects that are shown within the photograms are easily recognisable, yet the process of making a photogram out of them has abstracted them far beyond anything from real life and the object therefore takes on a new purpose. The keys conjure up ideas of domesticated life, of security and of accessing a space that is secure, something that is denied to many gay and lesbian people. The insects inciting a sense of phobia in the viewer, an analogy for what message the Russian government are feeding their society, by banning the propaganda of homosexuality and punishing anyone that promotes a positive message of this lifestyle.
- A series of seascapes – Taking inspiration from Hiroshi Sugimoto and using how he has defined the seascape to inform my own work. A peaceful, safe and secure environment that is void of human intervention and unchanging, an environment that activists and charities, such as Stonewall (a leading charity for gay rights) are striving to achieve. And with recent progression within our own culture, such as the legalising of same-sex marriage, that environment seems ever closer. But the inclusion of the boat to disrupt this peaceful horizon within the series is representative of the oppressive figures that still linger and pose a threat to the progression of equal rights.
- I series of photographs – Which are an extension of the photograms and the insects that feature within the work. They will be included as a way of stimulating more of an emotional response from the viewers. I think the photograms are appropriate but lack the same stimulus that the photographs offer.
These are three different pieces that are linked together by a common theme, so I must design a layout that when exhibited they appear as one body of work. Below is an initial attempt at a layout, which doesn’t work but has raised several points that I must consider.
When discussing this layout with other people they pointed out that the insect photograms surrounding the larger photograph was overwhelming. They need to be separated because the eye can not really focus on either of the works and they steal attention from one and other. Also the colour’s seem to drastically different, with the blue strip along the bottom of the layout, which looks separated from the series and looks as if it doesn’t belong. Taking this into consideration I will re-arrange the layout so that each piece can stand alone, I wont attempt to force them together as they addressing different issues. In terms of the colour’s I have changed the seascapes into black and white as a way of matching them visually with the photograms. By doing this I have managed to increase the contrast between the sky and sea, resulting in a much more dramatic effect and this emphasizes the horizon.
There are more photographs I want to include in this series such as the two below, but in order to match them visually with the photograms I have cropped them into a square format and they will be printed to the same size.
Another point I have considered is how they are mounted. I decided I am not going to frame them any of the photographs because there are a lot of small individual pieces, therefore the frames may dominate the wall. This leaves the option to mount the work onto a rigid, flat material. Initially I had considered foam board, but I wasn’t convinced that would be visually appealing and over time it would deteriorate quickly. I explored other possibilities such as MDF and alluminium, before settling on dibond which is reinforced by two sheets of aluminium. Unfortunately I didn’t find a printers that would mount on this material, so I had the dibond cut to size and I mounted the images myself.