Exhibition

 

Proposal

Field Level 6 : Exhibition

Module Leaders : Claire Curneen and Natasha Mayo

Module Number : ADZ 6888

Student : Tsz Ying Fung (Florence) Ceramics Level 6

The following proposal is regarding the above-mentioned module. Preparation of this proposal is based on the current progress of my graduation work.

Due to my graduation work which is in the course of development and not yet reached a stage of completion, it may be changed later on. Though two ideas of how to exhibit my work have been generated through my research for the time being.

As mentioned in my presentation in the Formative Assessment, my work is related to heritage and innovation. In this regard, I have done research about Chinese ceramics in certain areas and in particular blue and white porcelain.

Other than my previous research on Chinese ceramics I have now started to conduct research about traditional settings on displaying porcelain work in China as well as the last centuries in Europe. Within my research area traditional skills, settings and compositions will be looked into. The reason I am conducting my research on traditional European settings is because the frequent trading activities between China and European Countries led to abundant porcelain to be imported into Europe. The intense desire of Europeans for Chinese porcelain can be seen through the ways of how they were displayed.

I hope the final work which I am going to present in May, as well as a new aesthetic reason, will also reflect the relationship of its history in which western or eastern styles or both could possibly be included.

First Idea

This idea came from the traditional style of displaying porcelain in China. Wooden stands and multi-level panels [Fig.1-2] were commonly used to display the porcelain. Vessels of different sizes with decorations will be placed on the stands and due to the different heights of the vessels which causes a wave-like effect or movement to the whole arrangement at the same time creating a unique narrative between the vessels.

I adapted this idea of using wooden stands in my work. Whereas traditionally the movement comes from the different heights of the vessels in my case I will keep the vessels a uniform height and the wooden stands will create the wave movement. [Fig.3]

A long narrow plinth is required in order to show a row of five or may be nine wooden stands which delivers a sense of movement and also enhances the contemporary look to the actual work. Regarding to the empty space between the stands suggest a missed continual lines which entirely up to the audiences’ imagination to fill in these invisible spaces. Through the viewing, I would like to visually lead the audiences along this wavy movement and at the same time for them to enjoy the pure form and the decoration of the vessels.

object_opt_1
Fig.3

Second Idea

This idea has just come up from doing my research regarding porcelain. It was mostly owned by the upper classes or royals during the 17th to 19th Centuries in Europe and was displayed in various ways. The Europeans had a very good sense of using space, such as – in hallways, on ceilings, above fire places, panelling on the walls and sometimes tailor made chambers where the porcelain was kept alongside other luxury items. The display of the porcelain usually echoed the environment of the room, such as the lighting, furniture and fixtures or to brighten up the paintings which were placed beside the porcelain, since oil paintings during that time tended to be sombre colours. Wood was also the main material used to display ceramic vessels, for example, wooden shelves, brackets, cupboards and cabinets.

The following illustration was created by Photoshop. Using this software allows me to move the objects around to a desirable position [Fig.4]. This idea imitates the composition from a display of late Ming Dynasty (China, around 1620-1644) porcelain in the dining room of a Belgian castle [Fig.5]. Decorated vessels of different sizes are placed on various sizes of brackets then mounted onto the wall.  Creating a harmonious co-existence of these groups of objects is essential.

ps_proposal_opt.1
Fig.4
ming vase mounted on wall
Fig.5

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