I am curator

The painting is not the same painting when it is placed in exhibition space. It is re-contextualised and changed by the theme, location and surrounding placements.

Hans Hack believes there is nothing of intrinsic worth or of intrinsic value in the art objects, the art object is only an art object because it's been agreed upon by a series of people who have institutional power. With this in mind when thinking of the gallery space and institutions power to re-contextualise work and we value work I wonder how displaying my work in a degree show will change my opinion all my value on the work. A recent conversation alerted me to the physical remanence of having work in the miniature show and receiving it wrapped up and packaged with great care, leaving the artist understanding of the value of her work to be different. Something to be cared for, to be something of value. I think conversations around this came up in my physical work when discussing whether working in such a multifaceted manner was important to the outcomes or whether it was unnecessary. The are you a place on working in this way is something perhaps only I might find valuable, but that's all that should really matter at the end.

What Kind of Experience can be Constructed for the Spectator?

Siri Hustvedt stated: “every painting is always two paintings: the one you see and the one you remember.” I think from the artist perspective the concept of what the audience will take with them once they leave the space is really tricky and intriguing. As memory is something that stretches, chops and changes and disconnects and reconnects over large and small time frames there is a sense that in a large group like the degree show this temporal stretching could feel problematic as an artist.