The Big Walk – Lobby – Group show
Curating the Big Walk:
For The Big Walk show in the Lobby, the three of us brought
together all of the material that we had either collected, or made from the
experience of the Big Walk. We began curating this exhibition not knowing how
much of this material we would display, or how it would interact with each
other, having deliberately avoided discussing the technicalities of the show in
the time leading up to the install.
We began by gathering all of the information together and ‘taking stock’ of all that we had, and considering a framework from which to work for the setting up of the show. The first curatorial issue was whether to cover up, or work around the previous Lobby show, Kensa’s ‘Horizon’, which we had intentionally left in the space as we felt it was appropriate, and responded well to The Big Walk. Together we made the decision not to cover it, as we felt that having this ‘constant’ horizon was so contextually apt to the content of the show, and it would also challenge us to ‘think outside the box’ in terms of the placement of all of the pieces, rather than falling into the trap of a ‘classical hang’ which would not be appropriate for The Big Walk. We also all agreed that the horizon line brought with it a sense of journey and movement.
The first piece to go up was Didge’s ‘Moon’ construction, which Didge felt needed to be high up- as is the moon- and look over the Lobby. This was the only piece, aside from the objects on the table, which we did not mount on a wall. Almost immediately we made the decision to suspend this from the ceiling, not only so that it could be high up, but so that it could be removed and replaced by Didge if necessary, and so that it would not simply be a static object. Hanging it like this also meant that it was angled slightly to the floor, picking up reflections of colour and movement, and so is in a constant state of flux.
From this starting point, we moved on to consider what other larger pieces were to be hung that would need a specific place. There seemed to be a clear divide in our material between the ‘art’, which needed to dominate its own space, and art objects and documentation which was more fluid and less bound to a conventional arrangement. When considering how best to place another of Didge’s pieces, Kensa realised that when placed over her Horizon, it fitted and continued that constant line. We proceeded with this as a theme for that wall, and arranged photographs containing horizons from our walk in the same way. We all felt that keeping the horizon was important, and that by working in this way we were not only preserving, but adding to Kensa’s Horizon, by applying our own memories and imagery to this piece.
For the collection of maps, sketchbooks, found objects etc. we acquired a low plinth for us as a table. The intention was to build a ‘social’ area where these objects could be explored and handled- inviting the viewer in to the more intimate, less prepared aspects of this journey. It seemed important to have this ‘friendly area’, as it prevented this show from becoming to clean, and too impersonal; this is a story that we wished to share, and tell as a group.
Above the seating area I created a montage of some of my smaller pieces, which formed a small, chaotic arrangement of drawings, printwork and other imagery. This is my usual method of working, and it seemed appropriate for the frame of mind that the walk was both undertaken in, and then reflected by. It is intentionally so close to the seating area, as it is a less formal arrangement than the other pieces, consisting of fragments and curios.
Much of the curatorial issues we encountered with setting up this show involved just working out arrangements that were aesthetically pleasing to us- not always definable, but based on ‘gut instincts’. We were also very concerned, as the artists, that our story was told correctly and was made somewhat accessible to the audience that we wanted to share this with. We worked this out by carefully considering the pieces that we chose to include; being selective and removing material that we felt to be non-essential considering the limited space that we had.
I believe that we have achieved what we desired with this show and I am proud of the result. I feel that The Big Walk show describes evocatively our walking adventure and I am satisfied that the last two months of reflecting and remembering has culminated in what I believe to be a very considered, mindful collection of work.
We began by gathering all of the information together and ‘taking stock’ of all that we had, and considering a framework from which to work for the setting up of the show. The first curatorial issue was whether to cover up, or work around the previous Lobby show, Kensa’s ‘Horizon’, which we had intentionally left in the space as we felt it was appropriate, and responded well to The Big Walk. Together we made the decision not to cover it, as we felt that having this ‘constant’ horizon was so contextually apt to the content of the show, and it would also challenge us to ‘think outside the box’ in terms of the placement of all of the pieces, rather than falling into the trap of a ‘classical hang’ which would not be appropriate for The Big Walk. We also all agreed that the horizon line brought with it a sense of journey and movement.
The first piece to go up was Didge’s ‘Moon’ construction, which Didge felt needed to be high up- as is the moon- and look over the Lobby. This was the only piece, aside from the objects on the table, which we did not mount on a wall. Almost immediately we made the decision to suspend this from the ceiling, not only so that it could be high up, but so that it could be removed and replaced by Didge if necessary, and so that it would not simply be a static object. Hanging it like this also meant that it was angled slightly to the floor, picking up reflections of colour and movement, and so is in a constant state of flux.
From this starting point, we moved on to consider what other larger pieces were to be hung that would need a specific place. There seemed to be a clear divide in our material between the ‘art’, which needed to dominate its own space, and art objects and documentation which was more fluid and less bound to a conventional arrangement. When considering how best to place another of Didge’s pieces, Kensa realised that when placed over her Horizon, it fitted and continued that constant line. We proceeded with this as a theme for that wall, and arranged photographs containing horizons from our walk in the same way. We all felt that keeping the horizon was important, and that by working in this way we were not only preserving, but adding to Kensa’s Horizon, by applying our own memories and imagery to this piece.
For the collection of maps, sketchbooks, found objects etc. we acquired a low plinth for us as a table. The intention was to build a ‘social’ area where these objects could be explored and handled- inviting the viewer in to the more intimate, less prepared aspects of this journey. It seemed important to have this ‘friendly area’, as it prevented this show from becoming to clean, and too impersonal; this is a story that we wished to share, and tell as a group.
Above the seating area I created a montage of some of my smaller pieces, which formed a small, chaotic arrangement of drawings, printwork and other imagery. This is my usual method of working, and it seemed appropriate for the frame of mind that the walk was both undertaken in, and then reflected by. It is intentionally so close to the seating area, as it is a less formal arrangement than the other pieces, consisting of fragments and curios.
Much of the curatorial issues we encountered with setting up this show involved just working out arrangements that were aesthetically pleasing to us- not always definable, but based on ‘gut instincts’. We were also very concerned, as the artists, that our story was told correctly and was made somewhat accessible to the audience that we wanted to share this with. We worked this out by carefully considering the pieces that we chose to include; being selective and removing material that we felt to be non-essential considering the limited space that we had.
I believe that we have achieved what we desired with this show and I am proud of the result. I feel that The Big Walk show describes evocatively our walking adventure and I am satisfied that the last two months of reflecting and remembering has culminated in what I believe to be a very considered, mindful collection of work.
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