- What are your primary interests and concerns?
The way in which the viewer in the gallery space can be deceived by fabrication. By displaying journeys which never happened on a old map or a journey which has been fabricated. Developing from the Bargehouse exhibition I realised that there can only be one theme to make it more believable.
- What do you consider your subject?
Maps, objects and also the viewer as the subject. The works have to be partially believable to make the viewer engage by looking at the journey.
- What do you consider the key questions within the work, what are you attempting to explore or find out?
How much detail do you have to give the viewer to make the journey believable? Too much makes it to fake, too little gives the viewer not enough information to start believing. This has been influenced in my last 3 pieces which were displayed to the public, at ‘Tarmac’ Leiwsham Art House there was not enough description around the work, making it to the viewer a sculpture. At Crit show 2 by adding an information board to the work gave too much and left no room for imagination. Whereas at ‘Iris Turns’ Bargehouse, because both pieces of work were fake putting them in the same room, it made the viewer believe they were fake too. Learning from this every part of the work has to needed to be added to my degree show piece, paring down the work so only the essential is displayed.
Using a concept of the journey James Fish creates fabrications on the real, destabilising the perception of events and challenging the documented evidence. By producing a tableau of works that juxtapose the real, doubt is raised about the authenticity of the work. Sculpture, text, print and props are prominent in the installations that Fish creates, although separate, the pieces have a connection to each other, forming a body of work which constructs a fine line between the real and fabrication.
Historical and theoretical precedent
What are the themes within your work that can be traced through Art history and Critical theory, where do you place yourself within prior developments within this subject area?
With Fake News being such a big topic in current social affairs, George Orwell’s 1984 is predominate in my theoretical research and also looking for Fake News. The artist Katie Patterson’s work Second Moon, where you can believe the journey happened but did it? These questions are what I want the viewer to think about when looking at my piece. Referring to Joseph Kosuth’s ‘One and Three Chairs’ (1965) where he displays both objects, images and text.
Displaying of the work. What is being displayed, materials being used and why?
The piece will be a journey that will be a fabrication. The display of the work has developed since Bargehouse, mainly in the way that the map and journey are separate to create a spectacle for the show. The journey will be illustrated by longitude and latitude vinyl numbers on one side of the wall in RO5. The re-entry craft will be holed drilled outline from 3 4x8ft 0.1mm steel sheets which will hang in situ in front of the map in the middle or R05. These will be hung in front of a map which will be printed onto linen into three strips and hung away from the wall so that the fabric flows. The bronze buoy markers to be displayed on top of coloured cushions to show the weight of them and also the colour of the cushions are to link with the landing and pick up zone on the maps by following the coordinates.
For Formative Review and Summative Assessment
Prior to assessment you must reflect on the success or failure in meeting your objectives for the work.
Throughout the year the development of my practice has been mainly moving away from just displaying object and the objects which are displayed are critical to the whole piece. Furthermore, moving away from beaning solely a maker but for a producer gathering ideas, objects and text to create work. The work has progressed specially from Bargehouse to now, everything is more paired back, giving the viewer less to read and making them think about the work. The interrelation of my work Apollo 18 has been successful creating tableau of works which connect to each other by linking slightly. Without all 4 pieces the work would not be successful, the steel sheet lead the viewer into looking at the work and vinyl and map create a link between all 3. The bronze buoys give the fabrication some reality by creating to the viewer something out of a museum collection. There were many more pieces which nearly made it into the piece the rejection of TV screen playing a video of the sea was because it would of overloaded the viewer with information and additionally there is already the element of the sea in the map for the viewer to investigate. Elimination of Text pieces over number piece the coordinates are critical to the work and the text piece which was going to say “There are things about the sea which man can never know and can never change. Those who describe the sea as angry or gentle or ferocious do not know the sea. The sea just does not know you are there, you take it as you find it or it takes you”
This would of made the piece more poetic but there was not the space for it unless I wanted it to be with the coordinates which would of looked to messy and unplanned.