Placement of Work within Gallery

'Aluminium'

Thinking more about how I'm going to hang my work within the gallery exhibition, I know that I want my aluminium sculpture to be on a wall. This is because it connects with the way we usually view art, or objects in a shop. Either that or laying flat on a table for the viewer to look down at, as if it was an object within a shop.

Testing:

 -On Table in front of gallery: 

this could work, but I feel like I want to conform to gallery standards and place my sculpture on a wall , as though it were a classic painting, and not a classic self standing sculpture. 

I need my work to be facing a window for it to catch the most light, so this could either be in the corridor outside project space plus, or the window within the gallery. This also connects with the idea of the sale aspect of putting objects in the window.

Hanging in the corridor outside of Project Space Plus:

I had to play around with the positioning of the two sculptures on the wall, testing its framing in relation to its place on the wall, and the distance between the two sculptures. Rob said that this was about the height for standard exhibition for hung wall pieces and therefore it conforms to this mode of display. 

This worked much better and I feel the positioning of the two wall sculptures compliment each other. I decided to stand one above the other because this made it feel more sculptural, rather than if I had had them side by side at eye level it would have connected more with a standard painting. 

'A Breakdown of The Price' 

Testing on the floor near the sculpture:

This didn't work very well as I felt it looked slightly tacky and didn't connect with the feel of the commercial gallery, like the Halcyon Gallery in Harrods which was clean and minimal.

Testing on the desk at the entrance to the gallery:

This height immediately elevated the sculpture, having the text away from it as though it were a type of catalogue, or perhaps something to be discussed about with the commercial gallery assistant, or a piece of information along with the rest of the texts on the table. 

Testing on the reception desk:

This again elevated the text, but it felt  a bit too far away from the sculpture and I didn't think it looked right being here. 

1st test on plinth:

I initially placed the plinth opposite the project space plus gallery window, and to the right of the hanging sculpture on the wall, to connect to this mode of sale and window display. However, this proved unsuccessful when the wind from the door opposite kept blowing in and blowing the paper off the plinth. 

2nd plinth test:

I moved the plinth to opposite my sculpture to avoid any doors/wind blowing the text over, and I also liked the way this looked a lot more. This was due to the view outside the window, connecting again with modes of sale display - especially when viewed from the outside. 

The conversation the plinth and the sculpture have is also clearer now, yet less distracting from each other. They compliment each other, yet because you don't need to see them both in the same frame, this distorted viewing creates an intrigue for the viewer, to subtly find out if the work is connected through reading the text. 

The aim of the conversation between text and work is to connect the two together while exposing minimum wage labour, comments on labour and art, the production of art, production of art as though it were a commodity, and a comment on the art market. 

Final Photos of Final Piece Exhibited: