Hanging paintings / Final Installation

The walls in the space are all different sizes, making it difficult to hang the paintings consistently without taking away the room surrounding the paintings. Considering the theme of the exposition and the nature of the work, I decided to hang the paintings in a distorted way that mirrors the element of physical distortion, which I write about in my thesis and the statement accompanying the show.

These triptych too uses glitch curating. It creates a disconnect from traditional methods of viewing.

Publication – Ruins 2.0

When printing the publication to accompany my exposition, I decided to have it printed the size of a phone or handheld device so that it fits in with my thesis. I also decided to keep the bleed of the printing, which relates visually to the pixels throughout the paintings. The bleed also includes the date and time, much like a handheld device. The publication is essentially a series of layered and collaged screenshots. Writing the thesis made me think a lot about how much of my influences are photographed and reduced to a flat screen of pixels when they are uploaded online, where I paint from them. Several screenshots of my Instagram archive are included as pages in the publication.

I made a book of images rather than displaying the images on a wall because it can be accessed at any time, not only at the exhibition. You do not have to go online, or scan a barcode to access the images. In my thesis I talk about the fastness and fleetingness of the digital lens, it’s temporality. The physical ‘publication 2.0’ is permanent, accessible at any time once purchased. There is an element of irony to the printing of screenshot imagery.

Ikon Gallery, Birmingham

Ignasi Aballi – Possible Landscape
Ignasi Aballi – Possible landscape

I found the concept of a possible landscape really interesting, labelling instead of depicting it.

Women in Birmingham 1988 by Heather Powell Screening

Women in Birmingham was a collection of city scenes in Birmingham from the 1980’s and interviews with women of this time and prior to the time. It included footage from the 1950’s and 60’s too. It was interesting to hear women of these times drawing attention to the city and how it is neglectful of women, children and elderly needs. This shows that the challenges women face in the city today have always been present and lessons have not been learned to a degree where all women can walk the city without freedom and a curfew.

The women in the film talk about the disorientation of Birmingham specifically and the fears faced by many. It is described as a struggle, an ‘overwhelming, daunting and aggressive place to live in’. The film touches on the beginning of women architects and planners, at the time of the footage, the women are already questioning whether the introduction of women involved in city planning was happening because it’s the right thing to do, or for equal views and rights.

The film itself was really beautiful, showing the fastness and fleetingness of the city. I enjoyed it aesthetically and enjoyed seeing how the city looked four decades ago, from itst’s signage, advertising, fashion, transport and overall culture. It was similar to Patrick Keller’s film ‘London’ in 1980 in the way that it consisted of still frame, moving images, but it felt more obvious and real. The message of the film came across in a more obvious and alarming sense, especially being combined with real interviews and real fear.

‘Being at places we are not supposed to be is often used to defend rape.’ said one woman. Four decades later, as I addressed in my essay ‘feminist city’ for the ‘Pretty in Punk’ show earlier this year – This is sadly still the case and women are still expected to abide by the danger maps and curfews that are expected of us.