More installation thoughts

Putting ‘photographers installation views’ in a Google search brings up a treasure trove of images.

Having spoken about Meghann Riepenhoff and Lucia Pizzani’s style of display as an influence on my choices for the final major project module shows, I wanted to take a look at other gallery-style ideas.

Having just posted about Sarah Pickering’s online module discussion, I also looked at her installation views online.

installations_a001
© Pickering, Sarah. Aim & Fire, DLI Museum & Durham, 2013
installations_002
© Pickering, Sarah. Explosions, Meessen De Clercq, Brussels, 2009

The venues have a very clean look, with beautiful light and space.

What my venues won’t have is a slick finish; they are both more ‘grassroots’ in style. And this is great.

Some of the installation shots I have seen look fantastic, but as they are in venues that perhaps to many would seem intimidating, I love the fact that my venues have a more laid-back feel.

This doesn’t mean I will be taking a lackadaisical approach to how my work is shared at these venues, just hoping that the aura is one of open-to-all. By ensuring anyone feels comfortable in attending will provide the opportunity for me to spread my photographic story to an even wider audience.

I know that it’s very important for me to get high quality images of my show once in-situ. And given that the sites are not high-end galleries, I hope that their more intimate nature will reflect well in the resulting pictures.

One of the most intriguing I came across was by RongRong and Inri (they created the Three Shadows Photography Art Center in China) as shown below.

exhibition-rongrong-inri-tsumari-story-p2-mask9

I love the way the image hangs as if a hammock; it makes me want to gently swing them from side-to-side.

It is also reminiscent of how a deckchair ‘sits’. So it brings me back to making a final choice on how to display my cyanotype element of Harena Now.

By providing an additional talking point to the images displayed on the wall, I hope it will create further dialogue. And, if I do create the deckchairs with cyanotype fabric, an interactive element whereby viewers can physically interact with the work.

References.

Wenchuan/Bei Chuan-Fanlan. ‘Wife and Story’. Mask 9. Available at: http://www.mask9.com/node/171370 [accessed April 30, 2018]