The installation was received very well and there were suggestions for minor amends - such as the information panel and taking out a few of the objects. I may also reorganise some of the items, studying the picture from the last post, I think with fresh eyes the installation will benefit from moving a few things about. I was please people wanted to interact with the pieces and some wanted to touch the pieces which was my intention - the want to select items.
I am very happy with my new artist's information panel and the inclusion of the Giorgio Morandi reference - he was an artist that I looked at closely during my research, you may remember the link with Sean Scully and the Resistance and Persistence exhibition I referenced previously, thank you to the tutors for their help. Here is the new information panel text...
The Nameless, the Faceless, 2019
People on the fringes of society and the issues of Brexit are poignant features in my work.
The work in the show focuses on the growing number of individuals on the receiving end of an increasingly technologised state bureaucracy. It is a study of the everyday objects that are often overlooked, such as tinned goods and packaged foods, that might be donated to foodbanks.
In stark contrast to Giorgio Morandi’s paintings – in which vessels are portrayed as benign, almost spiritual objects – my work raises awareness of the issues faced by people who have had the misfortune to fall on hard times.
The new business cards still haven't arrived, but as mentioned before I do have temporary ones in the space just in case. I attempted to cast the business card holder in plaster to fit with the space, but unfortunately the sides of the holder were very thin and the plaster cracked when freeing from the mould.
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