6105 / Negotiated Practise

Gemma Littlewood

[6105gemmalittlewood]

[6105gemmalittlewood]

23/05/2019

Changing Display

In beginning to install my it has been decided that my work won’t go onto a structure but will go on a wall instead. I am really pleased with this as initially that is what I wanted & I feel that now my work has the ability to use the space in the way I had hoped & won’t be boxed in.

[6105gemmalittlewood]

[6105gemmalittlewood]

05/05/2019

Displays

In considering displays I have begun creating a number of compositions based in the space I will have on the 1.2x1.8 structure. This way I can possibly sketch out my layout ready for install or at the very least have an awareness of what I want to display and in what way. 

One issue I have realised is that the cladding for the structure does not completely fit, so I will loose approximately 10cm each side of the space I though I had. In regards to having less space I am slightly apprehensive about my install now as I was already worried that my work would appear boxed in, now that I have less space I am worried that my work will look very geometric which is quite the opposite of what I was intending in considering my work being free, and to appear as if it was growing or spreading out over a space.

[6105gemmalittlewood]

[6105gemmalittlewood]

03/05/2019

Acetate

After experimenting with acetate on a larger scale I was originally very indecisive in terms of whether to use the acetate of not. 

My main concern is that I wanted to black and white to stand out within my work - having a monochromatic display works well on its own & I was concerned that adding another layer of material would take away from the impact of the white against the black. 

In the end I have decided to not include the acetate over my photograms as I feel that it doesn’t add a huge amount more to my work and would be very complicated to both fix to the wall without seeing fixtures & I would then also have the issue of getting a sheet of acetate big enough to be used in conjunction with my larger digital prints also.

[6105gemmalittlewood]

[6105gemmalittlewood]

28/04/2019

Photograms & Digital Prints

In deciding to display both photograms and digital prints I had the task of matching the depth and tone of black on the photograms to the digital prints. I wanted the backgrounds to match completely so they looked cohesive. 

I had chose to digitally print on lustre paper to match the texture of the photograms - my process book will also be printed in a silk/ lustre for a coherent look. 

To match the same tones I ended up creating test strips of different tones of black with different undertones - specifically more red/ pink undertones and more green undertones - that were put together in photoshop and printing in the same method that my digital prints would be printed in. I then visually compared the test strips with my photograms under a light box that emits a light closest to natural light. It was trial and error however I finally found the correct depth and tone (a warmer, red undertone) that visually matched. I then went into photoshop, edited the images and printed them in A1. Whilst it took me a long time I’m really glad with the outcome as there is little if any difference between the depths of black in the digital prints compared to my photograms.

[6105gemmalittlewood]

[6105gemmalittlewood]

18/04/2019

Acetate

The idea of working with acetate within my work has made me slightly hesitant, however I have experimented with a variety of of displays that include acetate. I have narrowed the colours down to green and blue - generally being in relation to all of my past experimentation and research on the colours. However, my first experiments showed that the tone of colour was very important also. Darker blue and green acetates did not work in the ways I was hoping. When then experimenting with lighter shades I found I really liked the contrast that the colours gave. 

From displaying the acetate along with smaller compositions I decided I needed to see what a larger composition would look like when I incorporate coloured acetate to off-set the black and white composition...

[6105gemmalittlewood]

[6105gemmalittlewood]

[6105gemmalittlewood]

15/04/2019

Wolfgang Tillmans

Tillmans’ displays are something I am particularly focused on regarding his work. In considering my own display methods I am considering the sublime within every aspect of potential display. Because my work is not huge in scale, the display becomes an important aspect. 

One thing I am worried about within my own display is that my work will be going on a double cladded 1.2x1.8 structure - I am concerned that my work will be constricted by the structure & be boxed in, something that I really want to avoid. 

Tillmans’ display is something very interesting to me as he typically doesn't work in a linear way, he scatters his prints which give the idea of movement and freedom. This is something I really aim to achieve within my own compositions.

[6105gemmalittlewood]

Tillmans, W., (2016). [prints]. Found at:  http://tillmans.co.uk

[6105gemmalittlewood]

Contrast

More Transparent =  F. 8 / M120 / 15 SECONDS

More Opaque =  F.4 / M75-120 / 5.4 SECONDS

[6105gemmalittlewood]

[6105gemmalittlewood]

10/04/2019

Contrast

I have begun developing my photograms into creating a more cohesive body of outcomes. To do this I have begun attempting to perfect the contrast, particularly within this I have been focusing on experimenting with  the levels of magenta to create more crisp imagery with darker backgrounds that hold more depth in terms of blackness and contrast to the white of the crystals.