Proposals in retrospect (part 2)

A projection of ideas

Proposed thoughts

I created a concept of what the pillar may have looked like if it had been loosely wrapped in tin foil. The constructed image proved interesting visually, but was not really an accurate representation of the way the material would have reacted.

Whether this idea would come to fruition or not became less of a concern, as I now regard this imaginary scene as a piece of research work all by itself.

Proposals in retrospect

26 - 30 November 2012

Week 2 of 4

Level 5 Solo Exhibition 

The space: S1 Artspace

My original thoughts about where I would place my work were that I would utilize the column in the centre of the main space. The nature of my current work led me to think I could cover the structure with a material, making the piece site specific and a response to the gallery itself.

Karin Sander

Karin Sander

h = 400cm

Karin Sander:  "What must a work of mine fulfil? I must be able to work using resources that actually exist, that are already present within the system, and that can turn the system against itself. I must be able to read things from a location, the situation, of a museum or gallery. And the work must both reveal something and also remain mysterious. It must transcend itself and gesture towards something that was not previously visible. In other words, it must render something visible that is already present but that has hitherto escaped perception, that exists in a latent state. If the work provokes amazement and perhaps amusement as well, then it is successful."

(exert from http://www.karinsander.de/index.php?id=e5)

Exhibition highlight, Berlin, November 2012

Site specific Berlin

Berlin was wonderful; exhausting, but wonderful.

I've been a little slack in compiling a reflection on what we encountered, but I desperately needed to establish what it was that interested me on the journey. Just a few things that left me feeling excited:

David Rickard's floor-board installation

We visited an exhibition space under the name LoBe. I noted that a number of the artists we spoke to seemed interested in exploring their environments through a sort of mapping or even an uncovering of what lay in the space already. David Rickard's work was your first encounter on entering the joint exhibition - narrow, metal rods placed in the gaps of the floor-boards that each went as deep beneath the floor as they were high.

I couldn't help but feel a visual connection between the miniature metal rods and this stretch of the city where a trace of the wall's presence is marked by iron poles.

The Holocaust Memorial

towering moving overwhelming heavy