Exhibition considerations
Over the last few weeks I have been drafting a plan of my final exhibition in my workbook, I'll note all my considerations and ideas here for further reference:
Thinking about the act of the 'ritual' or 'rite', religious or solemn ceremonies consisting of a prescribed series of actions. Having set instruction for ritualistic activations.
'Portals': as gateways to fantasy places/ ideologies/ enchantment, connotations to videogame markers/ tracks/ objectives- objects/ monuments as 'activators' of a prescribed chain of events.
Want my work/ installation to simultaneously feel like it has connections/ associations to these three things:
Science-Fiction: technological advancements, AI, space (spacecrafts, alternate universes)
Ancient mythology and biblical reverence: Esoteric and prestigious symbolism, hieroglyphic qualities of information. Ritualistic
Video games: algorithmic, predetermined objectives. Object/ monument of activation- portals. Inventories, maps, parameters of a digital world (everything is coded, nothing by chance- you may feel that you have agency in a video game, but every action you take is predetermined and unlocks a specific chain of events.) Digital fantasy worlds
Initially I was intent on splitting the exhibition into two sections, the instructions (realm maps) and then the activation (obelisk). The realm maps acted as the instruction/ context/ establishment of rules, which is then applied to the obelisk, which is the activation of those instructions. A creation, becoming, ritual, game, activation of enchantment. Idea of worship, or contribution to, or partaking in.
However, I don't see this applying anymore. I see the obelisk as an individual work from the realm maps, they all branch out from the same project but I don't see them as connected. And also, if they were connected then I felt it was unbalanced, the obelisk work is significantly more impressive than the maps, and would do them injustice. Therefore, I want to treat each work individually and do my best to activate the potential in each work separately.
The Obelisk is tall (just over 2 metres), and it will be placed on an elevated platform. Sacred monument? Esoteric? Intimidating or inviting? People won’t be able to step onto the platform, how to make this indirectly obvious? Creating unspoken/ indirect ‘rules’ to follow. Where can you stand, what can be touched and approached? RULES OF ENGAGEMENT
Hieronymous Bosch, The Garden of Earthly Delights. Ramping up a very complex and maximal visual information, while retaining a standard of sleekness and professionalism (something that I admire about Simon Denny’s works). Bosch’s work, the quality of a maximal image drawing you in to the small details- very happy to be embracing this
Dante’s Inferno. The Map of Hell painting by Botticelli.
Intersecting all these different ways of visualising information that I like: Diagrams (tiers and icebergs), way to visualise concepts around class systems, hierarchies, etc. And a method of gamification in relation to different levels, maps, manuals, inventories. Arrangement of different components: places, objects, archetypes.













