I have decided to take a step back from my work today and really try and see where I am going with it. Photography has always played a strong role in the documentation of the resin panels. However what is becoming more apparent is that they are as much a part of the work as the original material object. I feel the atmospheric qualitites they capture  is really interesting. The soft rich colours and the seductive painterly folds really begin to occupy the imagintation. The Images become so abstract that they become completely removed from the original resin panels, transforming the resin panels into something rich with suggestion. Photography could therefore be the best way to exhibit the resin. The images have a high professional finish which the resin strucutres lack. I will therefore develope the photography further and view the resin structures as a means to a finished piece.
I feel my work is much more about caputring an immersive, seductive moment, rather than creating it as an installation peice.
As the images of resin are presented to the viewer in such an ambiguous state, it will be worth while considering whether or not I want to title the images as this would be useful in leading the viewer into a particluar way of viewing the work.

Yayoi Kusama

Ephemeral

Definition
Beginning and ending in a day; existing only, or no longer than a day.
*short lived, exisiting or counting for a shot time only.
Synonyms
brief, deciduous, momentary, evanescent, flash, fleeting, fagacious

Liz Rideal

"Pigs Ear"
Li Rideal

My Inital work with fabric which led me to work with resin.

I find Rideals work to be very delicate and feminine. The images have a strong painterly quality, the soft fluid folds and creases in the fabric show movement and a fleeting moment. Captured in a photobooth the images remind me of my early imagery of fabric.
Currently my work  (both the resin structures and the photography)  have a strong sense of delicacy. The subtle and the gradual blending of colour and the soft yet dramatic lighting. To move forward I feel it would be useful to look at the "ephemeral" and also consider whether it is my photography work that is the artwork which I would choose to exhibit, and that as the resin structures lack professionalism, they are simply a means to a "finished" piece of artwork.

Framing the acrylic pannels

As the resin panels previously lacked professionalism I decided to try a different technique. Rather than masking off the edges with tape before setting the resin I cut small lengths of acrylic which I then attached to the base sheets. This forms a tray like structure keeping the resin in and avoiding unfinished edges. If I decide to take the light boxes further this would be a good way to progress. However at the moment I'm considering moving in a different direction with my work.To left you can see a clear transformation from the original resin panels.

Cornelia Parker "Neither From Nor Towards"

Richard Long/ Cornelia Parker
Sculpture Out of Landscape
Usher Gallery
I found "Neither From Nor Towards" By Cornelia Parker to be a really useful peice to look at as I am currently considering how to display the resin panels I have been  making. Parker has hung the weathered bricks from delicate strands of wire, this gives the work a really magical feel, it's as though the structure is stuck in limbo and at any moment could drop to the ground.
If I were to hang my resin panels in a similar way it could have quite a magical effect on the space. If for example the panels were hung in such a way that as people moved around them they sway and turn, the colours that they cast on the surronding space would constantly be in flux, moving and filling the space with a range of soft subtle colours.

Considering space...

Up until this point I have been focusing on creating installation art work. Focusing on the immersive qualities of light and colour. Something I feel I need to consider at this point is the space in which I would display my work. Would the resin peices be made for a specific site? or could they be displayed in a range of different environments.

Glass Structures

With the previous success of the resin on glass I progressed forward to constructing structures. What work really well is the contrast between the two sides, on the one there’s the combination of the rigid resin and the soft delicate folds of the fabric emerging from the deep red tones. Where as on the other side it’s a sheet of merging fluid colours. Almost resembling a painting. There is still however the joins of the glass sides that is untidy and awkward looking.

Visit to Nottingham Contemporary.

Nottingham Contemporary.
Thoams Demand
Model Studies.
These peices of work really caught my attention, the rich warm glow of the coppers is truly beautiful. What also grabbed me was the sense of layering and texture, it was almost as though if I were to go up and touch the image I would feel the deep crinkles of the cardboard or the rough grainy texture of the solid copper structure.
By focusing in on small parts of the architecture models the images are abstract and removed from there original form.

Resin on glass

After testing a small section of resin on glass I have found it to be very successful! not only does it strengthen the thin layer of resin and material but the high shine finish of the glass intensifies the deep tones of the reds and burgundys. The peices look much more developed and professional. The next step to take will be to trial on a larger scale.

Tom Fruin

What I've found particularly interesting about this piece of work is that the installation isn't just the plexi glass house but also the colours and shadows that are cast around the space. The ground around the art work has been transformed into something colourful and truly beautiful. This is what I want to acheive with my resin panels. The realtionship between the object and the space in which it occupys is really important to me. How one can influence the other.

Although the acrylic panels work well as a base for the resin, as you can see from above, the resin is still very brittle, to strengthen the resin it may be worth considering other materials to use as a base.

By reducing the size of the structures the combiniation of colour and material is much more intense, there is a certain delicacy to the folds of fabric which seems to be much better suited to the smaller form.
Through using a florescent light I have been able to light the resin so that it can stand freely. However due to the strength of the white light all the sublte colours of the resin are lost.

considering scale

As the previous light box I constrcuted was to big, I have trailed a much smaller version. I feel this one to be much more sucessful as the colours and fabric are much more intense and refined. However consideration still needs to go into the way in which I construct the forms. At the moment they lack professionalism and would not be appropriate for a gallery environment.

Experimentation with colour