The first real feedback and some reflections on context and concept…
02.05.2024
Last week I had the privilege of sharing the first 6 paintings of this series with a critique group I’m a part of inside of the online platform for artists called Netvvrk. I joined this platform in the fall for access to curriculum, opportunities, and a network of likeminded, mid-career artists like myself to connect with. I volunteered for one of the first virtual critique sessions of the group and I’m so glad I did. The group had positive and thoughtful comments about the work and the concept, or framework around the work.
A few of the comments or questions that stuck with me were around the idea that the location was not necessary to know up front, the exhibition should include as much of the preliminary photos, writing, and sketches as possible, and the question of why I was focused on one day was discussed. I have always thought of the location and time frame as a method of narrowing my focus and an additional nugget of information inside my process of collecting and translating inspiration. I don’t see it as a front and center point that would make or break the body of work. I do think that exhibiting the work in the location where the inspiration was collected would have a greater impact for the viewer after they discover the context. It may lead to a greater connection, a more interesting story they can tell about the work if they collect it to hang in their space. I have noticed that viewers of my work (and any art for that matter) are interested in the story behind the work. If the work is about a certain location, residents of or lovers of that location will be more inclined to want to own the work. They can literally see and feel the place in the work even if the exact pieces of inspiration are unknown.
I also believe that narrowing the time frame to a single day, especially in a city so visually rich as Venice, emphasizes the point that there are visually interesting things everywhere, in daily routine, in the most ordinary spaces. On any given day, any given hour, in any given location inspiration is waiting to be discovered, or even just noticed for a second.
Including the process materials in the exhibition with the finished works has been on my mind since the beginning, even before setting foot in Venice. I’m not sure of the format quite yet but I want to create a printed catalog that acts as a diary of this process as well as include the photos, collage sketches, and notes I took during my walk somehow on the wall or in the space with the finished work. Another suggestion brought up during the crit call was to extend the work from the canvas onto the wall in the exhibition space. This is something I’ve considered for this body of work as well as for past bodies of work. I would love to create an immersive experience for the viewer in order to really allow them to see the world from a different perspective.
