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OPENING NIGHT 27TH SEPT
For the opening night we managed to get beverage sponsors: Trinity Hill supplied wine and Parrot Dog supplied beer. We bought the food for the opening night through our groups account for the exhibition. Etanah was instrumental in organizing this and finding cost effective but appropriate options for food. We used Facebook, physical posters around the Massey campus and word of mouth through our friends and network to promote our exhibition. Having the Facebook event for the exhibition was useful to get an idea of numbers. - Devanga
final concept
Ectoplasm brings together five artists from a variety of disciplines whose work engages with concepts around playfulness, colour and form with a strong focus on materiality. These artists work with physical materials as a counterpoint to the ephemeral way in which we experience much of visual culture in the digital age. Digital culture has significantly accelerated and disjointed the way in which we encounter many artforms. Ectoplasm was formed in response to these ideas, and to the desire for a more tangible experience, within the ever-changing and uncertain present.
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We ended up having a total of 9 works in varying size. Variety in the visual nature of the work was a key element and criteria in the curatorial process lead by Harry and assisted by Tyler. Harry has had experience curating exhibitions before. Tyler Jackson’s works were sculptures that would be installed on the wall, they protruded from the flat surface. Meg Porteous was showing one large format photo and another smaller photo. Ed Bats had assemblages and Tyler Barrow was showing framed photographs. Jenny’s work was a textile installation. While the work was very different visually and in medium they all presented strong characteristics of tangibility (either physically e.g Tyler Jackson or through their visual subject e.g the photographs of Meg Porteous) which is why they were included in the show. - Devanga
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Presentation speech
Etanah
Why do we want to exhibit.
Refine concept.
Uncertainty is a fundamental characteristic of our time. This show aims to create an open ended dialogue around the in-betweenness and ambiguity that many of us feel in contemporary society, especially for young artists. This precariousness can be seen as an uncertainty about the future, a blurring of boundaries between mediums, and the fast paced nature of technological and societal change.
Ectoplasm aims to embrace this precariousness. It attempts to reflect upon contemporary concerns - but in a playful and accessible manner. By presenting photographs, textiles, sculpture and collage together, Ectoplasm breaks down the boundaries between traditional art forms and expands upon the potential and application of different mediums while appealing to a broad audience.
(next slide)
Harry
The work in the show considers how young artists are reacting to these ideas by forming engaging and novel solutions. With a strong focus on the tangible- these artists work with physical materials as a counterpoint to the temporal and ephemeral way in which we experience much of visual culture now.
This exhibition brings together 5 artists from a range of disciplines whose work embraces ideas around playfulness, colour, materiality and form.
New Plymouth born and Wellington based artist Tyler Jackson will show new work from his reductive sculptural installation practice. This explores the perception of light and colour. Tyler’s abstract wall sculptural paintings blur the boundaries of the two mediums and examines the interaction of light and colour. The artworks are for the most part highly saturated abstract three dimensional forms. Jackson moved to Wellington four years ago to undergo his Bachelors of Fine Arts with Honours. During his study, Jackson was the recipient of the R T Nelson NZ Emerging Artist award.
(next slide)
Tyler
Meg Porteous was born in Taranaki, in 1991. She thematically explores the often-overlooked or seemingly mundane aspects of everyday life through her lens. The focus of each photograph is often an insignificant or indeterminate place or subject that acts as a vehicle or transition point to other moments in time. Megs practice celebrates her intense observation of daily, quotidian life and urges the viewer to consider what may, or may not go unnoticed. Porteous graduated from the Ilam School of Fine Arts in 2013 Majoring in Photography. She also studied at the Nova Scotia School of Art and Design in Canada. She has exhibited in Christchurch, Canada and more recently in Hawke’s Bay.
(next slide)
Jenny
Ed Bats employs painting, collage, sculpture and installation to explore composition, colour theory and formalist ideas. Bats’ focus within his practice is heavily based around the concept of reviving found materials and objects, and reinterpreting them using a minimalist aesthetic. Bats was born in Cape Town, South Africa and He has exhibited nationally and internationally. In 2016 Bats undertook artist residencies in Berlin, Germany and Lyon, France. He currently resides in Wellington, New Zealand.
(next slide)
Etanah
Ruan (b. 1996, China) trained as a fashion designer at Massey University, Ruan is also very interested in the intersection between art and fashion. Ruan's projects explore a different variety of materials and ideas outside the fashion realm, and challenge the traditional concepts around high fashion, under the influence of post-humanism. The ideas behind her works are often philosophical questions that resolve around the human future. Her proposed work is 'Re for repeat'. It is a two look collection that explores a repetitive state of mind, repetitive movement, and layers in relations to satisfaction. It is constructed from textiles, paint, and laser cut processes.
(next slide)
Harry
Tyler Barrow is currently completing his final year of Bachelor of Design at Massey University. Tyler Is a Wellington based artist, interested in the mysterious unit, that is the photograph. He investigates assumptions and built-in ways of looking that are inherent with the medium, in doing so his work exposes the anxieties and in-betweenness of photography and society today. His work explores the multiplicity of photography by utilizing various photographic technologies including film, digital manipulation and camera-less methods.
Etanah
We've looked at the following exhibitions for example (read screen).
(next slide)
Out of all them we found that the concept of The Tomorrow People has similar aspects of our proposed exhibition. Both our exhibitions plays on the ideas of "future orientated thinking". We also bring together different genres of artists who offers range of mediums that both contribute to our concept of the uncertainty of our future.
(next slide)
Tyler
Harry is a Co-curator , he is responsible for selecting, cataloguing and managing artwork. He will also communicate with the venue and artists.
Devanga is the Designer and Photographer , Involved in creating associated design collateral for the exhibition.
Jenny is contributing artwork towards the exhibition, and also maintaining the workbook blog.
Etanah is our Treasurer and Designer , Managing the financial assets of the exhibition. Etanah will also be involved in designing the associated collateral for the exhibition.
And myself, I will also be contributing artworks to the exhibition. aswell as co curator- helping to select and manage the artwork.
(next slide)
Harry
we have secured Green Street Gallery at 2 Green Street Newtown. Which is right In the heart of newtown!! (Looks up). Green street gallery a small and accessible space making it both inviting and intimate . Despite it existing as a 'traditional' white box gallery, it is artist run.
(next slide)
It is not a commercial dealer gallery nor is it a public gallery. it is inviting and approachable, and its open for experimentation and expression. This type of gallery prioritizes providing a context and space for artwork rather than controlling or imposing expectations or frameworks on the artist's work.
(next slide)
Jenny
We aim to appeal to a wide audience, but especially young artists who feel uncomfortable in the more traditional settings. Through our Facebook poll we found that despite a diverse interest in arts, many of our demographic didn’t relate to traditional formats. Because of things such as: being too exclusive or being Intimidating going into a traditional art space.
(next slide)
Tyler
This is our budget – the main cost is hiring the gallery and printing promotional material and a small publication.
(next slide)
This is our timeline, its pretty self-explanatory, I guess the only thing is that the exhibition is booked in for 26th- 30th Sept – so we have worked around that.
(next slide)
Etanah can bring it home
Finally, the Exhibition paraphernalia will involve a catalogue and posters, invites, artist statements, exhibition cards, and an exhibition press release. Also, we intend to have an online presence to promote our exhibition – targeted posts, digital advertising, as well as a Facebook event
Cheers!
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Proposal
Ectoplasm
Concept
Uncertainty is a fundamental characteristic of our time. This show aims to create an open ended dialogue around the in-betweenness and uncertainty that we feel in contemporary society, especially for young artists. This precariousness may be seen as an uncertainty about the future, a blurring of boundaries between mediums, and the fast paced nature of technological and societal change.
Ectoplasm aims to embrace this precariousness. It attempts to reflect upon contemporary concerns - but in a playful and accessible manner. By presenting photographs, textiles, sculpture and collage together, Ectoplasm breaks down the boundaries between traditional art forms and expands upon the potential and application of different mediums while appealing to a wider audience.
The work in the show considers how young artists are reacting to these ideas by suggesting engaging and novel solutions. With a strong focus on tangible- these artists work with physical materials as a counterpoint to the temporal and ephemeral way in which we experience much of visual culture now. This exhibition brings together five artists from a range of disciplines whose work embraces ideas around playfulness, colour, materiality and form.
Artists
Tyler Jackson
New Plymouth born and Wellington based artist Tyler Jackson, will exhibit new work from his reductive sculptural installation practice, enquiring into the perception of light and colour. The exhibition will feature a selection of abstract wall relief sculptural paintings, blurring the boundaries of the two mediums to intersect as unified visual objects commanding the interaction of light and colour. The artworks are for the most part highly saturated abstract three dimensional forms. Jackson moved to Wellington four years ago to undergo his Bachelors of Fine Arts with Honours. During his study, Jackson was the recipient of the R T Nelson NZ Emerging Artist award.
Ed Bats
Ed Bats employs painting, collage, sculpture and installation to explore composition, colour theory and formalist ideals. Bats’ focus within his practice is heavily based around the concept of reviving found materials and objects, and reinterpreting them using a minimalist aesthetic. Bats (b. 1990) was born in Cape Town, South Africa. He has exhibited nationally and internationally. In 2016 Bats undertook artist residencies in Berlin, Germany and Lyon, France. He is a three-time finalist for the Wallace Art Awards and has numerous works housed within the Wallace Collection and various private collections. He currently resides in Wellington, New Zealand.
Meg Porteous
Meg Porteous (b. 1991, Taranaki) thematically explores the often-overlooked or seemingly mundane aspects of everyday life through her lens. The focus of each photograph is often an insignificant or indeterminate place or subject that acts as a vehicle or transition point to other moments in time where movement or action actually occur. Shooting primarily with 35mm film, and employing flash and cropping techniques, Porteous’ practice celebrates anachronistic forms of photography. Her intense observation of daily, quotidian life urges the viewer to consider what may or may not go unnoticed. Porteous graduated from Ilam School of Fine Arts, Canterbury in 2013 Majoring in Photography. She also studied at the prestigious Nova Scotia School of Art and Design in Canada. She has exhibited in Christchurch, Canada and more recently in Hawke’s Bay. Her work is held in private New Zealand collections. Meg is currently based in Auckland.
Tyler Barrow
Tyler Barrow (b. 1996, Nelson) is currently completing his final year of BDes (Hons) at Massey University. Tyler Is a Wellington based artist, interested in the mysterious unit, that is the photograph. He investigates assumptions and built-in ways of looking that are inherent with the medium, in doing so his work exposes the anxieties and in-betweenness of photography and society today. His work explores the multiplicity of photography by utilizing various photographic technologies including film, digital manipulation and camera-less methods.
The medium of photography is connected inextricably to light and time - the very nature of exposure or capture is reliant on it. Light and Time in this regard has heavily participated in this camera-less work that I will be exhibiting. Which was exposed for approximately two weeks, whilst sitting on my desk accumulating dust, scratches and finger-prints that illustrate time passing. This work could be read as a moving image, time pushed out and crumpled again into a single frame. This idea of time also extends to the speed of images. As images in our current climate become ever more instantaneous and overwhelming in number. In other words, as they accelerate, I feel the need to empty out and make slow images.
Jenny Ruan
Jenny Ruan (b. 1996, China) trained as a fashion designer at Massey University, Ruan is also very interested in the intersection between art and fashion. Ruan's projects explore a different variety of materials and ideas outside the fashion realm, and challenge the traditional concepts around high fashion, under the influence of post-humanism. The ideas behind her works are often philosophical questions that resolve around the human future. Her proposed work is 'Re for repeat'. It is a two look collection that explores a repetitive state of mind, repetitive movement, and layers in relations to satisfaction. It is constructed from textiles, paint, and laser cut processes.
Reference exhibitions
The Tomorrow People, Adam Art Gallery
Caressing the Silver Rectangle, Enjoy Gallery.
Pink Bits, Precinct 35.
Martino Gamper: 100 chairs, 100 days.
Petra Cortright, Running Neo-Games Under Mame
Colin McCahon, On Going Out With The Tide.
Rough Rough, Soraya Rhofir. Review: The Tomorrow People, Adam Art Gallery The Tomorrow People exhibition consists of emerging artists' and out of all them we found that the concept of The Tomorrow People has similar aspects of our proposed exhibition. Both our exhibitions plays on the ideas of "future orientated thinking". We also bring together different genres of artists who offers range of mediums that both contribute to our concept of the uncertainty of our future.
Roles
Harry Culy Co-curator Responsible for selecting, cataloguing and managing artwork. Liaisons with venue and artist.
Tyler Barrow Co-curator and contributing artist
Responsible for selecting, cataloguing and managing artwork. Tyler will also be contributing his artworks to the exhibition.
Etanah Lalau Treasurer and Designer
Manages the financial assets of the exhibition. Etanah will also be involved in designing the associated design collateral for the exhibition.
Devanga Wanigasinghe
Designer and Photographer
Involved in designing associated design collateral for the exhibition and photography.
Jenny Ruan
Contributing artist
Contributing artwork towards the exhibition, responsible for maintaining workbook blog.
Venue & Location
Green Street Projects
2 Green Street Newtown, Wellington, NZ
The Space
This gallery is a small and accessible space located in the heart of Newtown. Despite it existing as a 'traditional' white gallery, it is artist run. It is not a commercial dealer gallery nor is it a public gallery or government funded. Being an artist run gallery it is an inviting and approachable space for experimentation and expression. Artist run galleries prioritize providing a context and space for artwork rather than controlling or imposing gallery expectations or frameworks on the artist's work.
Physically, this gallery is a smaller space making it both inviting and intimate – abandoning the intimidating nature of some larger conventional galleries. We have chosen this venue as it will operate as a tangible visiting point and encapsulation of the art work in opposition to viewing the art in a digital realm. This traditional white gallery space will provide a blank canvas to show case the art work but due to its size and gallery background it doesn't completely behave like or conform to the restraints and boundaries of conventional gallery spaces.
Audience & Engagement
We aim to appeal to a wide audience, but especially young artists who feel uncomfortable in the more traditional settings. Through our Facebook poll we found that despite a diverse interest in arts, many of our demographic didn’t relate to traditional formats. Because of things such as: traditionalist views, exclusivity, or being Intimidating going into a traditional art space.
Promotion and Paraphernalia
An exhibition paraphernalia will be designed throughout weeks 4 to 8. This involves catalogues, posters, invites, artist statements, exhibition cards and exhibition press release. Additionally online promotion is popular where we will promote targeted posts, digital advertising and create a Facebook event to reach our young audience.
Exhibition paraphernalia: catalogue/catalogue posters, invites, artist statements, exhibition cards, exhibition press release
Social media: targeted posts, digital advertising, Facebook event
Budget Considerations:
Venue Hire
250
Food
50
Printing (postcard/posters)
50
Publication x50
100
Freight of artwork
50
Installation tools and equipment/misc
50
Artist fees
0Total
$550
Page Break
Timeline:
Week 3
31st July – 6th Aug
Gallery visit
Week 4
7th Aug – 13th Aug
Formative presentation
Week 5
14th Aug – 20th Aug
Meet with mentor
Initial promotion and paraphernalia designs
Week 6
21st Aug - 27th Aug
Meet with mentor
Design development
Week 7
28th Aug - 3rd Sept
Meet with mentor
Artist works confirmed
Design development
Week 8
4th Sept – 10 Sept
Meet with mentor
Safety Checks
Finalise design
Spatial mapping of artworks
Week 9
11 Sept – 17th Sept
Meet with mentor
Printing and promotion
Food and drinks confirmed
Week 10
25th Sept - 1st Oct
Exhibition 26th- 30th Sept
Week 11
2nd Oct – 8th Oct
Group tutorials
Other class exhibitions continue
Week 12
9th Oct – 15th Oct
Submission Preparation
Submission: Friday 20th Oct 5pm
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Final statement
Ectoplasm brings together five artists from a variety of disciplines whose work engages with concepts around playfulness, colour and form with a strong focus on materiality.
These artists work with physical materials as a counterpoint to the ephemeral way in which we experience much of visual culture in the digital age. Digital culture has significantly accelerated and disjointed the way in which we encounter many art forms. Ectoplasm was formed in response to these ideas, and to the desire for a more tangible experience, within the ever-changing and uncertain present.
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Concept
Concept
Ectoplasm
Noun.
a supernatural viscous substance that supposedly exudes from the body of a medium during a spiritualistic trance and forms the material for the manifestation of spirits.
Ectoplasm brings together five artists from a range of disciplines whose work deals with concepts around playfulness, colour, and form with a strong focus on materiality and physicality. These artists work with physical materials as a counterpoint to the temporal and ephemeral way in which we experience much of visual culture in a digital age.
As everything speeds up and fragments into the digital void, ectoplasm was formed as a response to the desire for a more tangible, slower and meaningful experience of visual culture.
Ectoplasm engages with ideas of uncertainty and anxiety and manifests them into the physical realm as a response
By doing this, we are questioning the way Make more purposeful and slow
This exhibition aims to slow the experience of looking at art back down in an ever-quickening digital
This show aims raise questions and create open-ended dialogue around the ephemeral nature of how we experience much of visual culture in the contemporary digital age.
Ectoplasm embraces the feeling of ambiguity and uncertainty in our time and manifests this into the physical realm. This group show aims to create an open-ended dialogue that reflects upon contemporary concerns, in a playful and accessible manner. The work in the show considers the strategies young local artists are employing to address issues in contemporary society. With a strong focus on tangible-these artists work with physical materials as a counterpoint to the temporal and ephemeral way in which we experience much of visual culture now. This exhibition brings together five artists from a range of disciplines whose work embraces ideas around playfulness, colour, materiality and form.
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Some artists inputting works
Three rules of curating
ART LIFE
OP-ED
Oct 15, 2010
1 Comment
Sharne Wolff considers the three golden rules of good curating… and how even a small gallery can get around its limitations.
Last night a light bulb went off in my head. I was with some friends at Lismore Regional Gallery listening to Djon Mundine talk about the touring exhibition More Than My Skin on tour from Campbelltown Arts Centre (CAC) in Sydney. Mundine is the Indigenous Curator, Contemporary Art at CAC and he was speaking with a panel of two indigenous photographers included in the exhibition (Michael Aird and Mervyn Bishop), when he went on to share his Three Rules of Curating.
Michael Aird, Vincent Brady leads a protest march, Brisbane, 9 December 1987, courtesy the artist
Rules 2 and 3 were that the exhibition or event should leave a legacy of some kind (some evidence of it’s happening) and that the gallery should try whenever possible to acquire a work from the exhibition. To some extent, although these rules are no doubt desirable for all shows, they may be more appropriate for public spaces and institutions, rather than commercial galleries or artist run spaces. Mundine’s first rule, however, is more universal and very simple – ‘the role of the curator is to ensure that the artist is never unexplained or misread’ – and, in short, the primary role is to make the artist ‘look good’.
I thought about some of the exhibitions I’d been to lately and whether or not they’d achieved this purpose. It seemed to me that many had fallen short – they lacked that certain ‘wow’ factor and perhaps it wasn’t necessarily because of the art. Artists generally make art because they have something to say. They presumably hope that their audience will participate in the energy and power of the work they have to offer. Those in the audience should become active participants in the display, rather than passive viewers. According to Degas, “Art is not what you see, but what you make others see.” If that’s the case and an exhibition accomplishes what it hopes to, then arguably the viewer should never be able to walk away without taking something with him or her.
To be fair, art exhibitions are by nature subjective and there are always curatorial constraints including lack of funds, availability of works, gallery or government politics, and of course the space with which one has to work – not to mention the quality of the art works or the difficulty of working with the artiste. Surely, however, if an artist’s work is worthy of exhibiting for good reason, then it deserves to be seen at its best in all the circumstances. The display of the work is arguably a ‘production’ of the curator and perhaps the best exhibitions find a good balance between the mere throwing of canvases onto a wall with a few good spotlights (but without much thought) and the creating of a modern consumerist spectacle of the worst kind. ‘More than My Skin’ is an example of a show working well despite its constraints.
Even though Lismore Regional Gallery is supported partly by the public purse, its a cramped space located in an old, flood-prone building – its ‘temporary’ home since 1954. As an exhibition area it lacks almost everything its supporters and patrons would dearly like to see it have. Compared to its shiny neighbours to the north and south, it lacks the fabulous location and exciting architecture of the Tweed, and the comfortable heritage feel and space of Grafton. Nevertheless, on entering the gallery and seeing the work of six indigenous photographers and their male subjects displayed on every available space, somehow the rooms of the gallery seem different. The photographs are displayed thoughtfully and the emotion created by the display means that you can not only see the purpose of the artists, you can feel it. The power of the exhibition pulsates in the room and, I suspect, for a long time afterward.
By not allowing the artist to be ‘unexplained or misread’ I don’t think Mundine meant that the didactic approach was necessarily the way to go, although sometimes this can be a useful addition to the visual in the hands of a good curator. I don’t know about anyone else but I often find it useful to read the curatorial explanations in galleries that are aimed at children rather than those meant for adults. Maybe this is because they often make you think by asking more questions than they give answers – which is often what the art works are doing themselves in any event. Art is usually better at deepening mysteries than it is at providing unequivocal truths. If you agree with this premise, it also still makes sense that a piece of visual art can mean different things to different people and still not be ‘misread’.
Critics often argue that visual art must be ‘visual’ to make its point – an obvious point which is sometimes overlooked. But even art displayed in an artist-run space, a public space or with the artist as self-curator, the art is still subject to the manner of its display.
The artist and the curator (hopefully) are the people with more knowledge about a work of art than anyone else and as a result they are charged with the responsibility of making that meaning apparent and enlightening the viewer. Together they are a team responsible for the way the artwork speaks to its audience. ‘Art should reveal the unknown, to those who lack the experience of seeing it.’ (Quote attributed to Jaune Quick-to-See-Smith, Native American Artist born 1940.)
https://theartlife.com.au/2010/three-rules-of-curatorship/
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Artist Bio
New Plymouth born and Wellington-based artist Tyler Jackson uses reductive sculptural installation practice to inquire into the perception of light and colour. His abstract wall relief sculptural paintings blur the boundaries of the two mediums to intersect as unified visual objects commanding the interaction of light and colour. The artworks are for the most part highly saturated abstract three-dimensional forms. Jackson recently completed his Bachelor of Fine Arts with Honours. During his study, Jackson was the recipient of the R T Nelson NZ Emerging Artist award and since graduating he has exhibited widely throughout Aotearoa New Zealand.
Ed Bats employs painting, collage, sculpture and installation to explore composition, colour theory and formalist ideals. Bats focus within his practice is heavily based around the concept of reviving found materials and objects, and reinterpreting them using a minimalist aesthetic. Bats was born in Cape Town, South Africa and has exhibited nationally and internationally. In 2016 Bats undertook artist residencies in Berlin, Germany and Lyon, France. He is a finalist for the Wallace Art Awards and has numerous works housed within the Wallace Collection and various private collections. He currently resides in Wellington, New Zealand.
Meg Porteous thematically explores the often-overlooked or seemingly mundane aspects of everyday life through her lens. The focus of each photograph is often an insignificant or indeterminate place or subject that acts as a vehicle or transition point to other moments in time where movement or action actually occur. Shooting primarily with 35mm film, and employing flash and cropping techniques, Porteous practice celebrates anachronistic forms of photography. Porteous graduated from Ilam School of Fine Arts, Canterbury in 2013 Majoring in Photography. She also studied at Nova Scotia School of Art and Design in Canada. She has exhibited in nationally and internationally.
Tyler Barrow is currently completing his final year of Bachelor of Design (Honours) at Massey University. He is a Wellington-based artist, interested in the mysterious unit, that is the photograph. He investigates assumptions and built-in ways of looking that are inherent in the medium. In doing so his work exposes the anxieties and in-betweenness of photography and society today. His work explores the multiplicity of photography by utilizing various photographic technologies including film, digital manipulation and camera-less methods.
Jenny Ruan trained as a fashion designer at Massey University. Her work also explores the intersection between art and fashion. Ruan's projects explore a different variety of materials and ideas outside the fashion realm, and challenge the traditional concepts around high fashion, under the influence of post-humanism. The ideas behind her works are often philosophical questions that revolve around the human future. Her proposed work is 'Re for repeat'. It is a two look collection that explores a repetitive state of mind, repetitive movement, and layers in relation to satisfaction. It is constructed from textiles, paint, and laser cut processes.
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Here are the conversations we had with the gallery owner before the exhibition in terms of logistics, floor plans, timelines and info about the exhibition
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PUBLICATION
RATIONALE:
The design collateral we were going to use for this exhibition were a publication, wall sheet, printed poster, invitation, and banner for the Facebook event. In my view, the more challenging aspect of the exhibition process did not seem to be the curation but more the design collateral as there were many iterations and developments of it in our aim to ensure it also visually embodied the themes and concepts of the exhibition. This design process can be found on our blog in depth. It was important to us that the publication was not ‘boring’ and playful and engaging. The final design was a a4 publication card folder which contained 5 double sided posters on differing stocks of the works of each artist in the show. The idea of being able to take the art away with you in a printed medium (rather than just as photos on a phone or camera) appealed to us and fitted with our concept. Every publication was different in terms of the colour of the card and the combination of stocks it was printed on - we thought that this was a more personal touch. On the opening night, our publication received many compliments. - Devanga
Publication iterations can be found here: https://www.dropbox.com/sh/948isqg6l998jg4/AAA_0OiZZ2Z3ye_stiWF5_oQa?dl=0
Wall sheet: https://www.dropbox.com/s/bjf6dyovpfe677d/a4verticalFINAL.pdf?dl=0
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