Right, I’ve now moved forward with the images. I’ve selected the final twelve that I will be showing as Virtual Boundaries.
Each of these shows a barrier or boundary that can easily be passed for access to another area and shows a glimpse of that area. This selection was heavily influenced by an answer that David Campany gave when asked how he curates an exhibition (Fruchtnis, 2018).
“An exhibition is not a catalogue. An exhibition needs to work as an embodied experience. I think that very often curators of photography exhibitions forget this, and shows end up feeling like catalogues on the wall.”
I had a number of test strips printed covering a range of papers. The first choice was between Giclée and C-Type. In many ways C-Type would have been preferable because of the range of dark tones in many of the images but for the few with very bright colours the Giclée format was more suitable. In addition, the C-Type would have been more rugged given that I do not intend to have the images behind glass (see below for the reasoning).
Having looked at these test strips I settled on the Hahnemüle Pearl as it held the muted tones of the woodland whilst reproducing the bright colours in the relevant images. In addition, the slight texture conveyed the texture of the tree trunks and branches much better than the C-Type papers managed. Finally, this paper is one of the more suitable Giclée papers for mounting as many others are likely to fray at the edges.
In terms of mounting I decided that I did not want to have any glass in front of the images, partly because the lighting in the display area is not ideal and can cause reflections, even with “non-reflective” glass, but also because the glass would introduce a boundary, exactly what I wanted to avoid. After all, the theme is about passing through boundaries. By simply mounting on black 3mm Foamex I can allow the viewer to see the images and, hopefully, allow them to sense the opportunity to “enter” the image and explore.
In this way the images are the sole object of interest and attention with no distraction, not even the wall as they will be “floating” an inch away. As Balzer describes in Curationism (Balzer, 2014), the object should be the sole focus, not the curator, the gallery or even frame.
In the display area I’m constrained as to my choice of hanging methods since the centre will only allow vertical hanging from the rails near the ceiling. As a result, I’m using self-adhesive sawtooth fitting to place on the back of the mount. Each fitting can take 1kg of weight so two fitting should take the weight and allow me to ensure a level hanging.
An issue with this form of hanging is that the images tend to hang unevenly, i.e. not parallel to the wall. I’m rectifying this by placing a ½ inch polystyrene cylinder near each corner, topped by a small rubber furniture bumper. This should allow the image to “float” parallel to the wall and the 3mm black Foamex should enhance this impression.
I’ve tested the hanging at home and is seems to work, the images floating parallel to the wall, almost creating a portal effect which works well with the theme.
At the same time as getting these prints made I had an information board created with my bio, background information and Artist’s Statement. I’ve shown an image of this board in the relevant blog entry. This will hang in the same way as these images thus, I hope, creating a consistent effect.
Balzer, D., 2014. Curationism: How Curating Took Over the Art World and Everything Else. London: Pluto Press.
BJP, 2018, A guide to exhibiting your work, Available online at https://www.bjp-online.com/2018/03/exhibiting-your-work-three-curators/ Accessed 16th July 2018
Edwards, E.C., 2007. The Future for Curators. Papers from the Institute of Archaeology, 18(S1), pp.98–114. DOI: http://doi.org/10.5334/pia.290
Fruchtnis, K., 2018. David Campany – Photography is a Passport, Available online at http://www.urbanautica.com/interview/david-campany-photography-is-a-passport/221. Accessed 12th December 2018