Tutorial 08/02/16; with Stefhan Caddick

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The main conversational topics with Stefhan consisted of ways of showing the work and the discussion of the final outcome of this avenue of work and exploration. We discussed the idea of creating a series of ‘vitrines’ in which there are crystalline forms grown on dead matter. I would prefer the pieces to be out in the open, as there is an issue with growing the crystals in a ‘sealed’ environment, due to the urea crystals being created through the use of evaporation. This culminates in me having to create the works in an open air, warm environment, in order to best facilitate crystal growth. This therefore becomes a problem when utilising decaying matter; as the stench is unbelievable (and therefore I am not allowed to utilise such a material within the studios in the building). Nevertheless, we discussed the notion of decaying matter being poisonous – and how this relates to the chemical nature of the crystals; which can resemble fungi or mold, but also act like a natural form, despite being synthesised.

Away from the Flock 1994 Damien Hirst born 1965 ARTIST ROOMS Acquired jointly with the National Galleries of Scotland through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 http://www.tate.org.uk/art/work/AR00499

‘Away from the Flock’ – Damien Hirst 1994

(image taken from; http://www.tate.org.uk/art/artworks/hirst-away-from-the-flock-ar00499)

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‘The Air we breathe is Invisible’ – Mariele Neudecker, 2008

(image taken from; http://www.gsa.ac.uk/life/gsa-events/events/m/mariele-neudecker-lecture-video/)

One of the key ideas behind the display of the work is the idea of placing these objects within a series of ‘Vitrines’. This would allow a clear viewing platform for the works, without offending anybody with the smell and the potential hazard of the chemicals and decomposition of the animal. It also beckons the viewers forward, in order to better understand the work; they must come face to face with the objects, allowing the abjection, and the contradicting beauty of the pieces, to grip the attention of the viewer. This would also create a small ecosystem within the vitrines, which would (hopefully) continue to grow and decompose without any more interference from myself. therefore, the work would evolve and develop after the point of creation, better orchestrating the idea of entropy, and continuation of life after death. After looking at the works of Damien Hirst for inspiration, we decided that they would need to be clean and professionally crafted; in order to better remove all form of outside inspiration; drawing all attention to the object within the glass. We also discussed the potential of obscuring the crystallised form more; through the use of mist or fog within the vitrine; inspired by the work of Neudecker. There definitely needs to be an obscuring of the form with the crystals, so that you aren’t sure of what is actually in the crystalline mass without truly sending time with the object, or even reading a possible description that explains what the object consists of (a possibility).

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