Mass migration

Photo: Jean Ange

In the Objectspace work I was looking at the evolution of a body of work following a make-remake process, including what happens to the direction of the work when external forces (in this case Ruudt!) come into play.

For Platina I am curious about what happens when works get released into a new environment. Which individual works survive and which – because they are not so well adapted to their new environment – may be destined to become endangered/extinct (survival of the fittest).

This is the plan…

1. Send Sofia (Platina Director) a collection of pieces – all the works from Objectspace, plus some new ones I have made since – these are the species vying for survival
2. Sofia to select the pieces for exhibition and to send photos of the niche/habitat that they end up occupying in the gallery – these are the ones that survive in the Platina environment 
3. Interview Sofia after the fact to learn more about her decision processes – to understand more about the environmental forces at play
4. If any of the pieces find new homes while they are away, then Sofia will ask the new owners if they are willing to be contacted by me down the track – to find out more about the works new environment and how well it is fitting in

The outcomes of this experiment, may then influence the direction the work takes next

This idea also relates to my earlier blog post…

The sword in the stone
In a biological setting, environmental influences and a species ability to adapt are major factors in its ongoing survival. In a creative setting, what forces have (or should have) the biggest influence on a work or its offspring finding a niche and enduring in this world? And from where do these forces originate? Of the collector, the critic, the curator, the educator, the gallerist, the maker, the mentor, the viewer, the wearer, the writer – who would draw the sword from the stone?


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