Thursday, May 27, 2010

Inspirations: Artistic Works

The conceptual idea and theme of the art gallery is relative and slightly based on the works expressed by MC Ecsher

For my design I intend to create a space which makes creative use of stairs, most preferably in a more logical sense as opposed to MC Ecsher. Much like this artist, I hope to create spaces which provide a sense of curiosity and obscure thinking.

Monday, May 24, 2010

Home for designers

After some thought, I have decided to develop a new concept which does not directly replicate a single idea, but instead innovately combine them. For my art gallery, I intend to produce a gallery space which displays artworks similar to the ones shown in artexpress exhibitions, with a set up and functionality similar to the young blood markets. Art works are to be set up within the spaces as if in a retail environment whilst still maintaining a sense of artistic flair and interpretive value.

My artworks are to be produced by young artists 17-24 years of age and are generally high school leavers or young university students/people who are eager to enter the design market. Ideally, I want this gallery to act as a medium between HSC artworks (artexpress) and commercial products by young designers aiming to get their already established name out into the retail world (young blood) - It is more to get their work exposed and appreciated rather than a 'market' per say; much like foot out the door in the design industry. This is something that I feel relates well to the young and encouraging nature of the Newtown community.

Whilst most of the works will be by young people, this is also an opportunity to become exposed and discovered, in the hopes that one day they can become financially able to support themselves as artists and maybe own their own galleries (like the designers of artexpress). In my opinion, this gallery acts as an alternative route to artist exposure.

Recognising the Art

In eventuating with a client for the art gallery, I have devised a list of artist which I intend to be exhibited and showcased. These options include:

- One emerging young artist
- Client derived from a narrative as an artist
- ArtExpress, post HSC submissions
- YoungBlood Designers
- University graduate students
- Local Art competition winners
- Noise creative works:
- Themed artworks

Those in bold are my final three choices. I hope to make a final design by the 26th May 2010 during the tutorial.

Amended Narrative

After reassessing my narrative, redrafting and editing, I devised an amended version, that is,
For years she had charmed herself with a beautiful lie, til then at last through a twist of fate, Trea Harvey finally turned to the comfort of an unfamiliar siren's nest; the one that gave her the support to see life through a new light.
In this version of the narrative (relative to the painting), Trea lives her simple life as a normal girl should, believe in a black and white world. But as easy and perfect her life appears, she still feels incomplete. It is when she finds comfort in her relationship with her friend and opens up to a world beyond her religious dialectics that she finds out who she really is under her skin. Through this relationship, she is also then subsequently opened to a world of new challenges and opportunities.

Sunday, May 23, 2010


In establishing my owner, I have used the following painting by Soulacroix, Frederick 1858 - 1933 Italy.
In my interpretation, I devised the narrative:
...After all the struggle of escaping the twisted lies and deceit, τρία χάρη (Trea Harvey) turned to the comfort of her siren's nest; the one who gave her the support she desperately needed and who led her to see life through a new light.
And so, the derivative of this narrative projects a naive lesbian whom was once cheated on, now finds security in a new love - her girlfriend's arms. Through her past experience, she is driven to see the world through a new perspective; which she then intends to share with the development of the new art gallery in Newtown. In opening the art gallery, she hopes to give others the same opportunity to see worlds through different eyes.

Twisted Art Gallery

Saturday, May 22, 2010

Conserving Artworks

Recommendations for artwork conservation, as supplied online by the Art Gallery of NSW website:

Preserving your works of art

Most artworks are susceptible to deterioration from light, humidity, temperature, insects, dust, salt and vibration as well as the dents, knocks, chips and tears that come from contact with human beings.

Light: Stone and metal are unaffected by light, but dyes and paints fade in both sunlight and artificial light. Artworks made with watercolours and inks are especially vulnerable. Light damage is irreversible - which is why most galleries lower their lighting. Keep light-sensitive artworks out of sunlight and reduce artificial lights where possible.

Humidity: High humidity for long periods can damage all works of art by encouraging mould, insects and corrosion. Prolonged low humidity is a good environment for metals, and thus for some sculpture, because it hinders corrosion, but it can warp and split wood and lift paint from canvas. Keep artworks made of metal and stone in a relative humidity lower than 35% if possible, and artworks made of wood, canvas, paper and other organic materials in humidity between 40% and 60%. Try to avoid fluctuating changes in humidity and avoid hanging any artwork on outside walls. Watch for mould and insect damage.

Temperature: Indoors, heat generally lowers humidity while cold raises it. Hanging a painting or textile on a cold wall thus risks the problems that come with high humidity. Wax and acrylics have low melting points, and dust can adhere to acrylic paintings in hot weather. Avoid extremes of temperature and changes in temperature. Place corks behind the frame to provide an airflow.

Dust can encourage corrosion and adhere to acrylic paint in hot weather.Keep artworks free of dust - in the case of flat works, ideally by protective glass or acrylic. Take special care not to abrade the surface when dusting artworks.

Salt in the air - a problem for seaside homes, as salty air absorbs more moisture -can encourage corrosion. Only air conditioning can reduce this danger.

Vibration, usually when moving artworks by vehicle, can be damaging. Avoid transporting artworks without compensating for vibration by careful packing and support.

Contact with human beings, even the most well-intentioned ones, can cause immediate damage. Avoid placing artworks in thoroughfares and, when carrying an artwork, do so at all times as though you might drop it.

Bark paintings are subject to warping and flaking paint. Changes in humidity may encourage the bark to return to its natural shape, resulting in warping or splitting. Stabilising the bark and consolidating flaking paint requires the attention of a professional conservator.

Paintings, textiles and works on paper should be protected with glass or acrylic where required, kept out of direct sunlight and strong artificial light, and kept away from high humidity (for example bathrooms) and low humidity (around heaters). Hanging on inside walls rather than exterior walls reduces the effects of humidity and temperature changes. Storage should be secure, clean, dry and pest-free.

Thursday, May 20, 2010

Moodboard: Newtown Culture

Research: Gallery Variations

Looking at different types of local and international art galleries. Items in bold refer to the more interesting and influential on my final design.

MCA, The Rocks, Sydney

Billich Gallery, The Rocks, Sydney

Ken Done Gallery, The Rocks, Sydney

Herbert Art Gallery & Museum

Guggenheim Museum


Yale Center for British Art

Art Gallery of Ontario

Museum of Decorative Arts

Nelson-Atkins Museum of Art

Lourve Museum

Dulwich Gallery

Shukosha Building

About Art Galleries

What makes an art gallery a good one?

Analysis of Newtown






Monday, May 10, 2010

AshCUBES - A hermaphrodite's world

Physical Model


Exploding and Exploring

Straight stair cases
Two platforms
Two cubes
Double doors
Two possible situations of public exposure
Spiral staircase
Two styles of staircases
Design details:

Two is the most influential factor in the construction and development of my design. In my final design, it is emphasized through two boxes (2 spaces), two types of staircases, two doors, two situations.

The boxes represent Ashley’s worlds. In my opinion, and through the narrative, she is confused and portrays to the world what they want of her – i.e. female. But beyond her social and public appearance, she feels that parts of her body, personality and inner self are not female. This experience makes her feel insecure about herself and who she is. Each day she attempts to break away from her norm to expose herself to the world, only to find she trapped, and scared because she knows the journey will be a long risky and twisted one.
The top tilted glass cube. The top tilted glass cube with a steel metal framework represents the world Ashley lives in everyday. It is where she is seen by all eyes of the public, and so feels she must present herself the way they want her to. Whilst it appears to be open, she is still trapped (symbolized by the glass) caged (framework) and isolated (small platform). It’s tilt resembles the imbalance of Ashley’s life and how she feels unstable and insecure.

The enclosed cube. The enclosed cube is symbolic of Ashley’s other world – her true world; the one that is hidden, real and more stable in her eyes (it is also who she really wants the world to accept her as). It stands as the base for the structure. And whilst it may be the one that is hidden and for Ashley, normal, it is also where she is most comfortable. In this space she is free and is open to more of life’s possibilities. This sense of possibility is further reinforced through the presence of two large doors (only available by travelling through the enclosed cube). There are two doors to represent the flash of her life situation, and stands as the last barrier before completely breaking free from the top tilted glass cube cage. As with the doors, being within this particular space, Ashley also has chances to change her decisions. This is represented by the two platforms , but more importantly by the second platform, which boasts two identical stair cases – one going up and the other going down (indicative of a life changing event).

The relationship of stairs.The stairs play a significant role in the understanding of my design. Returning to the concept of two, it is evident that there are two different types of stairs. From the top platform within the tilted glass cube down to the intersection of the two cubes, is a spiral staircase. This spiral staircase, as explained above represents risk, challenge and facing fears. Spiral because the experience is winding and confusing; in the corner of the stable cube to suggest feeling on edge; and complete freedom without hand rails to provide a feeling of the long lonely journey.

The other style of staircase is in the enclosed cube. This staircase is different and unique to the spiral staircase, not only because it is straight, but also because of the height is each step and length of their tread. Each step on this style of staircase represents every event of the journey in Ashley’s transition. The long tread is intentional as it is inevitable that her pace through the journey will be slow and long, and whilst she may be taking many steps, her place of destination still stands far away.
And as I explained, reaching the second platform, Ashley is given a choice to make the short journey back to the beginning or continue on the slow process to the end. If she continues along her path to re-discovery, her journey then becomes focused and immune to turning back.

Structural Placement. The only two places of public exposure also help reiterate my narrative quite strongly. The highest platform appears to be at the top of the entire composition, symbolizing Ashley’s public social standing, whereas the only other situation where Ashley can be publicly exposed appears hidden and at ground level representing a lower social standing and acceptance.

Views of my design


Precedents: for site and design

Cube house - (for the site of my design)

Disconnected Rubix cube (for the style and construction of my design)

Modelling my final design