Exhibition Plan

Assuming that I will be available in January for the exhibition at Goldsmiths, I would print 9 of my photographs (3 still life images, 3 composites and 3 blended) in a large size (probably around A2 or A3 depending), frame them in simple black frames and arrange them in rows of 3 in the corner by the projector.

I would set up my 3 videos, ideally have them each playing next to each other on TV screens or even with a slight overlap if possible to project at least one of them. I'd have them rotate.

I would also have 3 podiums for my 3 sets of shoes that I feel represent my differing identities of artist/auctioneer/researcher-educator.

All the works (photographs, video and sculptures) would have 3 differing labels each - each one written from a different hermeneutical perspective - theatrical auctioneer, art theorist and learner/educator.

I would ideally want to light one row of photographs with a light box (reminiscent of my auctioneer presenter-style); have one row illuminated by the projected video so adding that additional layer of trace and obstructive blur - opening the meaning for spectator interpretation; and the third row untouched by light so the natural light or shadow would play upon the images.

[Before Covid-19 happened, my plan was to perform a participatory style of auction but one where I combined all my different interpretations and had the script fluctuate between the disparate descriptions, sales pitches and entertaining banter.

I also had planned to carve a small bookcase of about 10-12 art and philosophy books, with each one dedicated to an art style/artist/theorist that my Art History A-level students and/or I had been influenced by during the year. William Blake and Burke's 1757 treatise on ‘the sublime’ (2008) were already on my list after our rousing lesson on J.M.W. Turner. I was going to take their suggestions over a homework club on a Saturday before term ended (4 months ago) but lockdown happened.] I had already started carving the negative of an African Benin mask into a book about African Art to represent the Derridian 'mark of the absence of a presence' (1976, p.xvii).

In an ideal situation I would still want to combine some altered carved books with the praxis I have completed so far. I have the photo montages where I combined my stilettos with the fragments from the books I had carved earlier in the year and added my gavel, another object and double-symbol representing both justice and commerce.]