It was good to view the three new exhibitions and the new installation yesterday, I was especially interested in observing the ways that the works had been displayed and presented; as I continue to consider the optimum way that I could show my work at the NUA MA degree at the end of August.

I was especially impressed by the hanging of the Tapa: Barkcloth Paintings from the Pacific with the some by subtle use of magnets and some by hanging on a soft roll and a few combining the two. The overall effect was very powerful and created an ambience in the gallery that resonated positively with the works and encouraged me to examine the works in even more detail.

The hanging by concealed D-rings of Fran├žois Morellet‘s large acrylic paintings was also very effective; it ensured that there was no distraction to the work by the method of hanging. These [2006] works were also of interest as they were enlargements [4:1] of his earlier [1952] works; this encouraged me as it seemed to further validate part of my current practice were I am painting on a small 15x10cm photo and then significantly enlarging it to make a large piece that resonates with a banner. I like the banner motif as it seems to resonate with both a protest placard and a sacred wall-hanging.

In contrast, Giorgio Sadotti‘s installation: THIS THIS MONSTER THIS THINGS left unconcealed trailing wires, DVD players, amplifiers and audio players; but these actually added to the impact of the piece rather than being a distraction from it. As part of the installation there was a small library of books around a Frankenstein theme; this worked well as a juxtaposition and effective contextualisation of the work. I also enjoyed the intimacy of the work, it was in the small tower gallery, and a maximum of 2 viewers were permitted at any one time; I was fortunate enough to be the sole viewer and I was drawn to closely examine the work in a much more personal and intimate way than I would have been had it been in a larger gallery space.

The resource room further helped my engagement with the works, it provided space for reflection and further reading about all the current works; it might be good if such a space could be provided in the NUA MA Fine Art degree show. Indeed this helped me to discover a further work at the gallery:

Oliver Beer‘s Outside-In which is now permanently installed in the entrance lobby, but with such subtle, unobtrusive signage that leaves the visitor to discover the work for themselves – I especially like the wording of the do not touch notice which commented on the fragility of the work and asked visitors not to touch the work, except by interaction of the ear.