THE EXHIBITION

I know the exhibition is subject o change and alter as we go along, as the whole show has to be a group effort- but I thought I would include what I would want on the walls as well as the costume.

To show the height of the costume I would like to have it hung up by it's head from the ceiling, and I will have to speak to one of the Hardwick technicians about this- as the bear is quite heavy and it could be a health and safety breach if I hang it from one of the lights or ceiling. Also I have to work out whether I want the costume to hang straight down, or if I want to add a structure on the inside to help widen it a little. Also, I need to see if theres enough space for me to 'peg out' the edges of the costume to create a tent so people can stand inside it, or again if this is safe enough to have in a busy exhibition

To show off the illustrations I did when I drew back into the gum arabic paper I had some digitally printed, and I would like to turn these into wall hangings by using dowling and string to attach them to the wall. This will fit in with the fabric theme of my costume and also display the illustrations in a high quality. If I can't have them as wall hangings then I think I will frame them instead and have them on the wall next to the costume. I can also pin the puppets/book by the side of the hangings/frames, to show the story in paper form. I think this layout is similar to that of the costumes I researched from the exhibition in Barcelona- where they show different aspects of the costume and display it all together.

Layout and illustration wise I have also been influence by Margaret Kilgallen, who's hand painted pieces of work are always arranged as small pieces of a greater piece- and also include nature themes and bold imagery. Much like my project, she was also influenced by 'folk traditions' such as quilting [1]. Should I choose to nearer the time I could decide to have different pieces on different surfaces, or even paint directly onto the wall.  

[a]

Another aspect of the costume that I had originally wanted to include but haven't prepared for the deadline was the possibility of including sound in the costume.

Originally I wanted to have layered audio of people whispering different versions of the story, to create a confusing storyline where the audience picks up different parts of the story (again, emphasising the unreliable nature of rumours and storytelling). After speaking to Mark he mentioned he had a recording device where you can layer different sounds, and we thought it might be good to have different forest noises playing quietly within the costume, such as leaves and sticks crunching, birds etc. Again this would be a nice touch to utilise the costume as an interactive installation and take the audience to a different place. 

REFERENCES

Images

[a] KILGALLEN, MARGARET- 1999

Kilgallen, M. 1999. To Friend + Foe Installation. [Paint on various surfaces]. At: New York.


REFERENCES

[1] COCHRANE, KIRA- 2009

Cochrane, Kira. 2009. Margaret Kilgallen: Art on the edge. The Guardian. [Online]. [Accessed 4 May 2017] Available from:
 https://www.theguardian.com/artanddesign/2009/aug/08/margaret-kilgallen-art-graffiti