Hanging the final pieces

The final day arrived after working as a team to curate the exhibition space with all that curation takes place, it was the time to decide which position was the best for my pieces that was also complimented by the other pieces in the exhibition.

After deliberation of how to hang the pieces with tutors and other students, I knew that I wanted to hang all 3 pieces in front of each other as was aforementioned but I was unsure if I wanted the heights staggered.

The first attempt was to hang from a microphone stand in the middle of the exhibition space but I wasn’t happy with the height I wanted higher. I want the viewers to look up to the pictures and be able to walk around and through them.

It was suggested that I use a window opening pole and paint it white and suspend it from a back wall.

This required a weight behind the wall to keep the pole in place and hold the pictures. Each piece does not weigh heavy, which proved to be an advantage with the final hanging.

After solving the back of the frame issue I discussed possibilties of how to hang the pieces, I had to decide what was the best method to allow a little movement but I did not want the pieces to swing.

I thought about fishing wire and thin wire but in the end decided to use metal rods going through both the pole and frame. I was lucky enough to to find some aged copper metal rods that had discoloured, yet matched the rust colours in my pictures.

The next dilemma was do I stagger the height of the pictures or not? This was only resolved with seeing both options and asking opinions and the final decision was to be at the same level.

We had positioned the pole near a plug socket to be able to use lights to allow the viewer to see through all 3 peices of work.


Curating the final exhibition space.


The workroom space has to be transformed to a proffessional exhibition area. This has required the group to lift and carry, scrub, sand, paint and clean. The photos show the transformation in just 3 days.

As students we have the chance to experience a taste at being an art curator for the duration of displaying the final exhibition.

A curators job can be compared to that of a movie director who is in control of every aspect of the production and starts with  vision and uses various methods to achieve this.


This is the part where the curator imagines and designs the overall theme or story for the exhibition.

Things to consider for this process are

  • whats the purpose of the exhibition
  • how much space have is there
  • budget
  • cliental and expected visitor numbers
  • The artworks to be displayed

Before the curator begins a design needs to be drawn up taking into account meauserments of the space , materials already available and budget allowed.

It is extremely useful to visit other exhibitions to get the feel of what conveys a successful and innovative exhibition and what conveys a poor exhibition.

The curator needs to consider the juxtapositions between the various artworks displayed to capture the imagination and intrigue of the visitors especially on entering.

I once visited an exhibition in Bulgaria that showcased in a derelict warehouse. The natural light and breeze and added interest and enhanced each piece.



 The group started out with clearing away both rubbish and everyday art and design items. Then we needed to scrub, board out the areas and paint al the space white. We were reminded that this will be a relevant and important part of any future exhibitions we are wanting to display our work in.

Decisions had to be made about whose pieces would hang where and how the curators needs to consider how each piece will look in the space and which pieces need to be hung together for the best effect.

The process was made more difficult because not all the pieces where in the studio space and it was hard to make the final decision.

Finally the space began to take shape and the transformation began, this added to the energy of the process and when we started to see all the final pieces that students where bringing in a renewd sense of pride and excitment took over.



Difficulty of framing.

I would have found the whole process of framing easier if I had been able to frame first then stitch into secondly. That wasn’t possible due to the feasibility of stitching on a machine with a large frame. So the only conclusion was to frame at the end.

My work was always going to have an abstract, uneven edge and disparate feel to it because the work is self portrait and that is how I feel best describes me.

Yet as I discovered stretching muslin fabric with uneven edges on to a wooden frame requires continual measuring as the fabric moves and stretches out of shape. This discovery was unexpected and required a certain amount of problem solving, unpicking, repeat measuring.

In the end I measured ,stapled and re measured every few staples.

Starting to present final pieces 

Picture 1

It’s important to tie the pieces together to give unison. Due to changing my mind several times im looking at using hessian dyed as a border.

about the final fabric and eventually decided on sheer fabric as I am wanting to give the viewer to opportunity to see each individual picture front and back and also look through the pictures to see the passage of time. I looked at hanging from coat hangers as opposed to frames. Discussion between tutors and my own thoughts led to the decision to frame. I want a stable picture because the movement of hanging loosely may not show the pieces off in the best way. which the .

Ideas for final display

I want to be able to display the work to allow the viewer to see each individual piece but also look through the first piece and see a glimpse of the others.

Ideas I wish to incorporate in my final presentation

  • See the journey of life from beginning to the end
  • View the backs of each artwork as these add an interesting alternate.
  • Suspend the works to allow movement.
  • Explore light to creat shadows and reflection which can also explore passage of time.

I am interested in Newtons cradle which has often been an executive desk toy over the years but i am intrigued by the relationship between the balls.

I will investigate to see if I can purchase embroidery hoops large enough for my works.

Workshop on stretching canvas on frames

Bill the technician explained and demonstrated how to stretch canvas. I inquired about the hessian I have used and Bill explained the difficulty I may experience when I attempt to stretch it. I also spoke about the possibility of using finer fabrics and we discussed how that might stretch and not respond well to that type of fabric.

Thrashing out the narrative and thinking about the proposal

Today I have examined my work and tried to thrash out the narrative, what is my story ?

I am continuing to use the portrait of labia as a sample piece to experiment on and discover what works and what is not successful .

I am more and more allowing my feelings to influence my work. After discussion with the tutor we looked at why this might be the case and discussed looking at self and the possibility that self portraiture may allow me to examine what it is that drives my emotions and feelings.

FMP Proposal

Proposal doc FMP

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UAL Awarding Body 

Unit 14 – Project Proposal

Candidate Number
Pathway  Textiles Textiles
Project Title  Lets live this life  Live This Life
Section 1: Review (Approx 150 words)

Having experimented with textiles previously I was keen to try different mediums within the course. This has led me to researching and practicing, print, photoshop, 3D, life drawing and painting. I have experimented with a variety of mediums to try and display emotion within the human face.

I continue to experiment  with different techniques and as of yet have not settled on a favoured medium to convey the message.

I have previously studied recent and past images of refugees as the narrative shown in their eyes has intrigued me and the challenge I set myself was to try and recreate the emotion and depth of feeling within my work.

Section 2: Project Concept (approx 250 words)

The idea I have been working on since the early stages of previous units are a study of the human face and how the artist is able to convey a “Visual Narrative” through portraits. This all started with a visit to Blackburn museum and studying the collections of early explorers and how their action of taking artefacts away from the homeland to display into their own collections, impacted on indigenous people.

This led me to examine the faces that art and history paints of people who have lost their homeland such as slaves. I progressed into reading and watching the expanding story of the current refuge crisis. As the story unfolded and I looked into the faces of these people experiencing the worst nightmare of their life’s, I was able to see the pain, uncertainty and desperation etched into their eyes. It was as though what had happened to them was told as a story in their eyes this especially was apparent in the eyes of children. Referring back to earlier paintings of slavery they had the same look in their eyes.

This research I explored in the previous unit to some success but I discovered that the time spent on the subject had started to effect my mood. The darkness and sadness of the subject matter which I was trying to replicate was starting to weigh upon my emotions.

Examining this thought process led me on to think about self. Alongside this shift in direction I had noticed that my paintings where becoming more colourful and I was naturally changing from black and white to colour.

Early experimentation has focused on developing the correct features of the face as I feel I need to understand this first before I experiment abstracting or distorting the face.

There does appear to be a theme coming from my experiments which is of using bold or bright colours and as always I am drawn to more abstract methods of work.

I spent many hours creating works in black and white because I felt that this conveyed the bleakness or stark reality of the context the subjects where living in. As time wore on these experiments started to naturally take on colour.

I have not yet decided weather to use the best of my portraits and display them as a group of faces or use one striking image.

Section 3: Evaluation (approx 100 words)

Group critiques and feedback tutorials are invaluable for gaining in genuine feedback.

This will allow me to develop the ideas I have and move them forward to produce a more mature piece of work.

Keeping a work plan which will be in the format of a diary will support me to reflect on my work on a weekly basis. the plan will have a weekly plan accompanied by a weekly reflection and evaluation.

Proposed Research Sources and Bibliography (Harvard Format)


Ai Wei Wei Royal Academy Exhibition 19.10.15 – 23.12.15

KAWS Yorkshire Sculpture Park 06.02.16 – 12.06.16. ysp.co.uk

The Whitworth Art Gallery Manchester. Portrait Exhibition 14.02. 15 – 23.10.15