• PROJECTOR (power supply/ somewhere to mount projector)
    • FABRIC
    • WOODEN PEGS (to hang)
    • FISH WIRE (to hang)


    • Project onto fabric
      • silk organza?
      • chiffon?
      • tulle?
      • broad cloth?
      • muslin?

    Projecting onto fabric in a gallery space, within a darkened area in order to allow the projection to be the clearest it can be.

    Projecting = use of a physical manifestation of the idea of memories fading or being strong, as parts of the image will not be available to fully be shown, as the fabric has a likelihood of crinkling, or being draped in a way that might obstruct some of the image (intentionally). I feel like this will give way to the more ‘fragmented’ idea of memory, and the way that it fluctuates so easily. Another way of doing this is allowing the fabric to move in the slight breeze that is created by the people moving past it, again showing this fluidity of memory and remembrance.

    I hope that this can be achieved, as I think this is a successful end to finish my project, and a way of showing my subject matter in a way that really allows it to come alive.

    If I were to have a bigger, solo gallery show, I would aim to incorporate a lot more, almost creating an immersive sensory show as an exploration into the emotions and nostalgia from early childhood.

    By this I mean using a lot more pieces, incorporating my fabric transfer pieces as one talking point, displaying them as an interactive tactile display, allowing viewers to pick them up, feel them and get something more from the loose edges and quality of transfer. This comes from the idea that children ‘want to grab everything’ and so I work with the notion that adults will remain connected to this subconsciously, allowing this to create a deeper connection to the items.

    With other senses, I’d quite like to have a series of sound files playing over a sound system, the sound coming directly from any childhood videos that I could find, even just the hiss of an old video camera, or the tinny sound of recorded footage that links directly back to my own childhood. Whether or not I’d have the actual footage playing somewhere within the exhibition (maybe on an old box tv?) I’m not sure, as I think this could possibly be too much on top of the sound files.

    I’d still include the idea of projection within the show, with the images perhaps shown on a much bigger space, with much more fabric, really allowing them to breathe into the space. I’d encourage viewers to step in between the projection and the materials, and really involve themselves, allowing the idea of them ‘stepping into’ my memories to come out, really playing on the idea that a place is just a place until you have an attachment to it. Furthermore, a place is just simply that to the viewers of my images, but it’s when they become invested in it as a study of a place that has memory attached to it is when it really counts.






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