Monday 1400-1530: Lecture - Artist as Social Sculpture Also known as 'Participative', 'Socially Engaging', 'Dialogical' or 'New Genre Public Art'. I was somewhat aware of this art genre but without actively researching. The idea behind it is that the artwork revolves around the action of the viewer, rather than the artwork itself. Turning passive spectators in to active participants. The stand-out artist from the lecture (for me) was Felix Gonzales-Torres. I like the idea of artwork being interactive and limited by time, such as Untitled (Death by Gun) 1990, where viewers are encouraged to take the prints. After the lecture, I spent the afternoon deciding on what type of paper to use for the passes. I didn't want to use standard printer paper because of the low quality, and at the same time wanted to try and emulate the thickness of paper in a genuine boarding pass. I opted for Canford A4 Ice White Paper 150gsm. I also used the 'Margaret Street - All Courses' Facebook group to try and source more leaflets etc. I posted an open request for anyone who went on the Berlin trip to let me borrow any of their posters/leaflets to photocopy for my piece. Tuesday 1000-1630: Studio work Unfortunately, there were no replied to the Facebook post, despite nearly 100 people viewing it. Due to this, I decided to use the photocopier to manipulate the images I had in fear of running out of material to complete all the passes. I used the functions on the copier to mirror, invert, expand and reduce the images. This is perhaps dangling my toes in the 'digital' side of manipulation, but I'm still confident saying that I have stuck to all 'analogue' processes. The rest of the day was used to finish off the collages. By the end of today, all 43 individual collages were made. Wednesday 1000-1200 Started the day by (laboriously) copying the collaged passes on to the Ice White paper. Luckily, two passes fit on to one sheet of paper so it saved me a fair bit of time and money. Once I had finished copying the passes, it was time for me to leave for the day due to work commitments. Luckily the process went smoothly and all I had left to do now was cut and trim each pass. Thursday 1600-1900 Working from home today due to work commitments. I spent the time cutting out the passes. After some deliberation, I decided to hand-cut the passes rather than use a guillotine. Although a guillotine would have been quicker, a ruler and scalpel would be far more precise. The corners of the passes needed to be bevelled, so the best method was to simply lay the original boarding pass over the top of my reproduced version, and draw around the edges. Due to the intricacy this required, trying to make each pass identical size, this took far longer than anticipated. By 1900, I had 43 equally sized boarding passes. Friday 1000-1200 The submission time was 10am, with instructions to meet John Wigley in the foyer. The vitrine doesn’t have any ledge or shelf for my boarding passes, so I was asked to create a ledge which can sit in front of the vitrine. My best option was to find some spare pieces of wood in the workshop which would reach from one side to the other, underneath the width of the vitrine. I used the bandsaw, a handsaw, hot glue gun and nail gun to create a support for a shelf. Fishing wire was used to support and balance from the opposite side. The shelf itself was made from a very raw cutting of lead metal. This was used in the consideration of the project, rather than the aesthetics of the vitrine. Before stacking the passes, I photographed them all together for the first time (and probably the last). The curation of the display was finished by around midday, with around a third of the students who went on the trip creating artwork for the display. Upon returning home I decided to post the following message on the ‘Margaret Street, All Courses Forum’:
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