I realise I did not discuss my other work in the Schism show. The main thing about this exhibition was that all my work, was not intended to be site specific at all, but all the works were manipulated to work in conjunction with the space it inhabited. Obviously from the performance the dark isolated bathroom area was a large factor in creating the atmosphere the work embodied. The cage however was exhibited in quite a different way then before. I purposefully left the piece as 'untitled' and selected not to house the photographs of the cage being worn anywhere else in the show. We had previously spoken about having the photograph exhibited at the complete other end of the space so the recognisable give away of what the work actually is would not by any means be immediate. In the Christian Union I played with the museum type display by placing the photograph on the side of the plinth away from viewer's immediate gaze. When you walk in you are unable to see it, and so a presumption is made, in which I am then able to give some sort of an answer. It always reminded me of a family attraction where they would house a question and answer type set up for children around an interactive space. I incorporated the plinth again at the Poly, but much smaller, a simple prod in order to aid the balance of the work. It defined the work on the window sill, without overpowering it at all. I worked with the sculptural quality of the work, which I hadn't really done before, intwining the cage in the Poly's curtain.
The metal cage is a sizeable weight, and it was transformed into something a lot lighter against the window light which really defined the line in the work. You transition from this large lucid mass, into a sharp lined nicely balanced on the edge of a understated geometric block. I was really happy with how the work looked, and it was exciting using this element of play that I discussed previously with David's work, using what i had until it unfolded into something. And conceptually that is all it is, 'something', I am unsure what it is, but it highlighted this transformative process my objects are evolving into. It can become animated through the body, and was 100% intended for that purpose, and has now outgrown it's representational boundary. The relic holds a power, larger then itself. I got the impression from Derek's group tutorial on Wednesday that he actually preferred this work to the performance, but he saw the work in it's unmanifested state, this feels much more finished. I will probably recreate this work for the studio assessment, with some lighter, translucent material. It seems at this point that all that I brought to the last assessment has completely evolved into a much more finished state, but I am slightly concerned with just resubmitting them all? I know if i was to recreate this work, then I would need to clean up the right side, as I used bull dog clips that looked quite sloppy as you came up the stairs from the performance. This was due to my inability to sew or change the curtain because it was the Poly's, which is completely understandable. It will be interesting to see this translated in the windowless studio space.