Above: two shots of the third painting, in progress. The lower image is the most current state.
I had my second mentor meeting on Thursday. We focused on the installation mock-ups and discussed the nature (and viewer reception) of different arrangements.
Oliver suggested that since each medium intentionally behaves differently, it might have greater conceptual impact to group like media together, rather than dispersing them through a symmetrical arrangement (see my previous mock-ups). Progressing through the space, one speeds up or slows down in response to the unique nature of a given work. If the media are interspersed, it has a different (though not necessarily undesirable) effect on viewer reception.
Oliver articulated this well by saying, in essence, the different distances involved in the experience of space is what makes the installation work–space becomes compounded with memory. The way media are installed, therefore, can contribute to, or disrupt this connectivity. Symmetry might disrupt the flow too much. In response to this, I produced a few more install variations (below).
- Make sure they don’t give me a freestanding wall. It won’t work well for this installation.
- A corner set-up, on the other hand, might be advantageous. Paintings on one wall, video on the other, View-Masters in between or flanking outside the shape. This would encourage bouncing, without dispersing the like media too much. It would need to be a fairly open corner.
- Two paintings are absolutely necessary (I agree). They speak to each other as part of my process of making this stuff my own. They slow down the overall speed. The single painting mock-ups miss out on a certain amount of dialogue.
- One video screen is fine (I agree). Given the limitations of the space, only one video screen would have audio anyway, which means the others would be silent and would therefore take on different, possibly unintended, roles.
- A slightly larger video screen might be good.
- Differences are what make this piece work. It’s okay to separate the installation by medium. The different works relate.
- The time-based work is sensorial and benefits from focused intensity (like a single screen or a corner).
- 1 or 2 View-Masters are fine.
- Be ready to adapt the final mock-ups to the space.
- The street views and screen caps might actually belong to a different, or future, version of the project after all.
Flat wall arrangements: