Nervous Breakdown - FMP

Learning Outcomes

Produce a body of work for exhibition, appropriate to the audience.

Use verbal critique and written review to reflect on the development of your own and others work.

Write a proposal outlining the aims, objectives and practical requirements of your project.

Demonstrate understanding of professional standards throughout the realisation of the project.

Initial thoughts, planning & proposal
(Costings, trends, research & idea development)


Link to Moodle - Module delivery here


Link to Moodle - Module outline plan here


My proposal

For my FMP I have decided to continue the themes explored within the Individual Practice module and continue those until they are 'finished' pieces taking on board feedback from the IP module results.

The main reason for this decision is because my IP didn't 'feel' completed as none of the work had been progressed through to a framed piece, and also the time constraints of the chosen production methods wouldn't leave enough time for a brand new concept to be thought through, planned and captured.


In order to decide how much time I can allow for image capture, I have decided to work backwards and create a plan including all the components of putting together an exhibition, this way I can irradicate any time concerns and I know what stage I should be at at any given point.

I started with a brain storming session, a desired layout plan and then developed a  detailed planner.

Planner worksheet

Creating the work
(Material sampling, design concepts, technical research & production factors)


As I have decided to continue the themes explored in IP, I have already done a lot of the research and idea development.
I looked into various substrates and printing methods but at that stage had not finalised the display method.
I also have taken a lot of images but still wanted to create more - so I did further shoots and visited new coastlines.


My decision to use the chosen images was not subject to a lack of new  images, it was purely driven by time constraints due to my chosen display methods and production factors.


I have undertaken considerable work deciding on secondary and third composition - relating to the crop, scale, shape and position of the images.


Neon
For this set of work, I wanted a very polished manmade piece which utilised industrial material and reflected light.
I decided on Aluminium panels after having some small samples made up.
The overall size for the pieces was determined by the capacity width of the aluminium printer.
The cost of these pieces was far more than I had anticipated but I had set aside quite a large budget for the module - hoping to sell some pieces and re-coup some costs.
Whilst this is a fairly popular substrate, combining my abstract images on a large scale with aluminium is not something I had come across so decided it would be a good example of work and also stand out from the other work on display.
My inspirations are well detailed in my IP module which can be found on the tab at the top of this page.


Horizons
As I wanted to create the feeling of familiarity within the work but leave the location  'fluid' within the audience, I also wanted to create the feeling that the image was floating within the frame.
I had seen an unusual glass frame whilst in the states but had not managed to source anything in the UK. I contacted a few recommended bespoke framers and I found a fantastic local framer (Artisan One) who worked with me and understood my objectives with regards to display - and he was able to make the frame I required.
Again costs and timescales for this were more than originally antisipated but I was not willing to compromise on the overall production value I wanted - so decided to go ahead.


Why abstract?
Abstract art for me has a concept and a meaning, however it can also be viewed as a simple aesthetic piece of work - so for me, it could communicate with a much broader audience than some of my other initial ideas (see IP)
It also provides me with an opportunity to differentiate myself from the rest of the exhibitors as my work is very different from, not only what they are exhibiting, but what I have seen on the open market.
There is a risk inherent with exhibiting work that is 'different', it could have a very limited appeal, hence why there is so little of it on display, but I have seen a steady increase in abstract photography through the forums which I participate in, particularly using iphone-ography and in-camera movement.
I cannot be sure of how well received this work will be in the local demographic and visitors to the exhibition.

Inspiration and research

Lowry & Seascapes

(Images from http://www.thelowry.com/ls-lowry/his-life-and-work/)

Gerhard Richter

Images taken from http://www.gerhard-richter.com/

Research article about Gerhard Richter can be found here from City Review

http://www.thecityreview.com/richter.html

Rob Carter

Mark Rothko

Rothko Chapel

Four darks in red

Red, orage, tan and purple

Andreas Gursky

Ori Gersht 

Practical Requirements
In preparation for the exhibition there are numerous things that need to be arranged, and as we are working closely as a unit, I have set up an  online forum so the whole class can communicate.
This has proved very useful as we've been able to discuss and decide factors without all having to be in the same geographical place; however is the case with most things, so me people contribute more than others - which frustrates me.


As we are all in different sectors ( rooms 413/414 & the corridor) we have decided that some issues are for the whole group, and some pertain to just the exhibitors of the room.


I have found some online forums/resources very helpful
London festival of photography
Artists who exhibit
News alerts - photography exhibitions
Printspace
Sunflowers fine art
Saatchi online
PDN
20x200




Preparing the space
We have had to empty the space of all 'class' equipment, this has included; desks, chairs, computers, notice boards, framed images.
After removing everything (as far as is possible) we have had to do some maintenance to bring the space up to a professional standard - filling holes with plaster, painting the walls, cleaning the carpet etc - as a team we drew up a rosta to indicate minimum participation times. 

After seeing the bare clean space we could begin to visualise where work could be placed, and we were also given out 'official' space to work with.


I prepared my space my masking off to size the outline of my pieces.


It was apparent that in order to present a professional looking show, we would need additional lighting as the class 'strip' lights were not sufficient.
After a group discussion and taking into consideration limitations on electrical matters and drilling, we decided to opt for individual cost effective spot lights that could be mounted via an adjustable D fitment, and a baton screwed to the wall with minimal drilling.
The lights unfortunately did give off a slightly warmer tone than we wanted, however weighing up cost, ease of supply and ease of fitment, we had to compromise.

We have also decided to create an ambience by playing some upbeat but not intrusive background music - this has been done collectively with all adding suggestions and supplying tracks.


Hanging
When hanging ones work, the appropriate method must be used, I bought a large selection of hooks, and for the lighter pieces I used a simple length of cord and a double hook. For the larger piece, I used the method that was predetermined by the supplier (the stand off system) - 4 screws contained in a polished black cylinder to give the piece some depth off the wall surface and absolute security (although it was not that heavy).
For my glass float frame I had spent a great deal of effort getting the illusion that the image was floating within the frame, so I did not want any visible signs of hanging (cord etc) so with advise from the framer, I used a hidden hook and eye method - however I was worried about the weight and the strength of the pins - but reassured my college staff that it would be sufficient.




Display
Having been to many exhibitions, both photographic and fine art, commercial and public, I wanted a very high standard, however, I am completely aware that this exhibition fits fully in either sector, so I could use a mix of display equipment to suit my needs.


As my images were abstract in nature, I also wanted to demonstrate that I was competent in other genres, so I have decided to utilise picture books - made from images captured in other modules. I had to ensure delivery was in good time, so I did not re-edit, just spent time on the selection process and the image order.


Places - a book from yr 1
Fetes & Fairs - a book that was done for the initial exploration of IP
Re-enactments - another book that was for the early exploration of IP
Meltech - compiled to display WBL images
Rouge - commercial project for a hat designer
Ella - a commercial project for a textile designer


I have also thought about how the books can be displayed a their best and have decided to purchase acrylic book stands

I have also decided to have a MAC on display, with my own website being shown. I have worked very hard to create a professional but clean corporate image and have integrated this into my business cards and website.

Also on display I will have a physical piece - created for the IP project to demonstrate that my work is not  limited to wall display


And I will also have my business cards

Some of the tables cannot be removed as they are fixed to the wall, while we can use this for displaying books and supplying refreshments, the desk do have an 'office' feel to them.
in measuring up we would need approx. 70 meters of fabric to cover them, and with no unanimous decision about splitting costs, I have decided to purchase large disposable table cloths - whilst not ideal it does serve a purpose.


Audience
(Market research, marketing & self promotion)
I have given a great deal of thought to the expected audience during the exhibition. The college has strong links with local industry and I have assumed that the college mailing list will be utilised to maximise attendance.
However, as I cannot control this, I have also compiled my own database of contacts (warm and cold) who I think would have an interest in the show generally and also (hopefully) my work.
I have taken the decision to send the invites out from a very un-biased perspective and to market the show as a whole and not specifically my own work, though I have made comment that I will be exhibiting also.


I have tried to match the audience to my work and not let the expected audience dictate the work.


I am also very conscious of the fact that abstract art will not be to everyones liking or  understanding - so I have tried to ensure that the work also serves as decorative pieces.


My database comprises of

• My own friends and family
• My work colleagues and contacts (from the banking and accountancy field)
• Suppliers - my own and general well thought of suppliers in t he area
• Local commercial galleries
• Architects who purchase art - data obtained from RIBA
• Solicitors with wealthy clients
• Local press & radio
• Acquaintances of contacts through social media 'sharing' and 're-posts'

I have used a mixture of electronic invites and putting up printed posters, mail merge and phone calls to distribute information and promote the event - typically cold marketing gets a very low uptake so I have increased volumes and sent out over 600 communications.


I have also set up an event page on Facebook.

Black book
Requirements - 

The statement is only 50 words; I had done some research about what 'should' be included and what a statement says about me and my work - however, 50 words was just not long enough to do a comprehensive statement, so I talked very generally about my experience of the course and included my contact details.
Because of this, and because there is no danger of repetition, I can make sure the statement mounted near my work is in-depth and covers my concept and my future direction.

(screen print of file)

Artists Statement
(reflective piece explaining work)
As the 'black book' insert is only 50 words, I feel I need a statement to explain the work on show.
I struggle talking about my work to an unknown audience, and find it difficult to pitch it at multiple levels. 
I also dislike statements which sound patronising or pretentious.


So I sought advise from tutors, who helped with minor 'tweaks'.


The statement I have settled on is below.

The work here is a small selection from two separate bodies of work entitled Neon and Horizons both of which relate to nostalgic memories.

Neon represents a fleeting memory from a vibrant adolescence that is vague, but still bright and exciting. Our adventurous care-free years pass so quickly that we do not have the time or maturity to appreciate them until they are gone, and when we reflect back on them, they are nothing more than ambiguous images played out in our minds in fast forward.

‘Horizons’ illustrates the dichotomy I personally feel towards the coast, it’s ever changing ebb and flow could provoke unsettled feelings, however I find it tranquil and reassuring, stirring positive memories of childhood.

The abstract nature of the image allows the viewer to interpret the scene as if it were any beach or coast where they too may have a sense of belonging.

All my images are limited to a print run of 50, the print process and display method are equally important to me as an artist. As such I use manufactured materials such as glass, acrylic or brushed steel.

Pricing
When pricing work it is important to understand that  it is difficult to increase your individual value as you progress, and work should be priced in a way that sets out the market you wish to operate in and reflect the times and costs to produce.
Because I have used different materials, it should be apparent to potential buyers that the costs involved are higher than those of a standard photographic print.
to help add value I have decided that print runs will  be limited to 50 regardless of the size or medium. (I have also had to keep records to ensure that the limited number is kept too)
I have researched other commercial outlets, both online and in person to try and understand how to value work.


This has been a very difficult process, as I don't want to under value myself, but I am not established professionally, and I also want to consider the spending power of my potential audience - for this reason I have also decided to display some 'cheaper' alternatives to my display methods, i.e. a standard C-type print in a professional slip mount, bagged and ready to frame.


Here is how I have calculated my costings;

• Cost to produce inc. VAT and delivery charges
• Hours to capture
• Hours to edit and finalise
• Nominal hours to produce corporate identity/marketing materials etc
• Hourly rate set at an industry standard as proposed by professional bodies suck as Skill-set and AOP

Large Aluminium Panel - £570

Small Aluminium Panel - £250

Unframed metallic print - £30

Glass Float Frame - £270

Standard frames with 10x8 C-type print - £80

Unframed mounted C-type print - £30

Reflective piece
During the course of this module I have been able to call upon some of my major strengths; organisation, communication, planning, costing, marketing etc. However, I am still lacking in some key behavioural aspects - I find it very difficult to talk about and explain my work. I have tried to overcome this my completing the website and putting it in the public domain and by writing a concise and appropriate artists statement - but I lack confidence in my abilities, this was apparent when it came to pricing my work and my instinct was to price it purely at cost which does not place any value on me as a person, my time, skills or ideas.


Whilst I thrive on challenge and enjoy organising large scale productions, I have also found that I lack tolerance with others who do not contribute and find that delays caused by others inability to make decisions affects my  own enthusiasm levels.


I would have like to have more discussions about my work from a wider  audience - and will seek ongoing feedback in the future - for this reason I have decided to have a comments book during the exhibition.


I have taken a risk by displaying work that may not be well received or understood and is in a genre that is not widely acknowledged, I am proud that I have stood by my ideas and seen them through to finality, however I am still nervous about the demographic that will see and remark on the work.


My technical abilities have improved but I want to seek out new challenges and more alternative methods of capture, print and display.