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The Royal West of England Academy (RWA) stands proudly in the vibrant Clifton Triangle of Bristol. As the city's inaugural art gallery, established in 1844, it holds a distinguished status. Housed within a striking Grade 2 listed edifice, the RWA hosts a comprehensive array of exhibitions, events, workshops, talks, and lectures, enriching the cultural landscape of Bristol and beyond.
The present showcase features the exhibition titled "These Mad Hybrids". At its core lies the artistry of Jon Hoyland, whose ceramic pottery serves as the focal point of this display. Hoyland's unconventional pottery pieces, characterised by vibrant colours and organic forms, are aptly dubbed his "mad hybrids," offering viewers a glimpse into his imaginative world.
The gallery brims with unconventional artworks by various artists, each exploring the theme of "mad hybrids". These creations span across diverse disciplines, with some artists employing very eccentric materials like margarine in their pieces.
One standout exhibit for me was Phyllida Barlow's humanoid figures, which blend concrete and industrial elements. Barlow characterises her work as ”sculpture occupies space in a crowded world, without a clear purpose. The rough and ready elements on top of the ‘bad-place’ suggest a precarious and absurd triumph over sculptures' lack of purpose”.
Another noteworthy piece was titled "Grounded" by Chiffon Thomas, which posed the question, "Where does the body end and its surrounding environment begin?". This inquiry resonated with the interconnectedness of our existence. The sculpture featured a face enveloped within imposing industrial structures, offering a compelling narrative.
I was also drawn to Hew Locke's sculpture comprising three larger-than-life figures. Constructed from found objects including baby dolls, flowers, and machine guns, each figure exuded a unique presence and you couldn't help but consider the affinity for which we produce waste. Hew describes the largest one as the 'Puppet Master, reminding us of humanity's historic and continuing attraction to the corrupting influences of power.”
I found these artworks particularly meaningful for our project as they echo themes we aim to convey. They explore the concept of human influence, our interconnectedness with the earth, and the perceived power we hold over it and its inhabitants. The figures in our greenhouse exhibit reflect both human and natural forms, crafted by AI, offering a futuristic perspective on interconnectedness.
You can find out more about this exhibition here
We inquired about the process of showcasing our work at the RWA, and they suggested participating in the Annual Open Exhibition held in April. Artists can submit up to three artworks, which are then reviewed by a panel of judges. Around 600 artworks are selected for display in the exhibition, which primarily focuses on fine art and standout single-image works across various media, including sculpture. It's advisable to lean towards less illustrative work for this particular exhibition.
Located on North Street in Bedminster, the Upfest Gallery is a small yet lively shop showcasing artwork both inside and in its window displays. Serving as a vibrant creative community hub, it is also the proud home of the Upfest festival. During this event, numerous international street artists gather to adorn the streets of Bedminster with their captivating creations.
As Bristol's longest-standing urban art gallery, it boasts the city's most extensive collection of spray paint colours and Posca paint pens. The gallery hosts regular exhibitions featuring top Bristol, UK, and international graffiti and street artists, providing the widest range of urban, illustration, and contemporary artwork in Bristol. Additionally, the gallery offers bespoke framing services, limited-edition artist t-shirts, and a curated selection of street art, graffiti, and Bristol-themed books.
To exhibit work at Upfest you have to partake in the Upfest festival, you can find more info on my form here
This gallery stands out as one of the most unique I've encountered. Housed within a complex of historical artefacts, it holds a diverse array of collections spanning Etruscan, mediaeval, Renaissance, and contemporary art. Originally serving as a hospital, the building was primarily utilised to shelter pilgrims and those in need from around the globe.
What makes Santa Maria della Scala intriguing is its extensive collection of diverse artefacts, spanning from an archaeological museum to numerous painted frescoes and sculptures, each dating from various historical periods. Some of these artworks are incomplete, providing valuable insights into the artistic processes of their creators. Additionally, the architectural marvel of the building itself is captivating. Like many structures in Italy, it exudes a maximalist aesthetic, boasting grandeur and adorned with ornate decorations.
The initial segment of the museum is brimming with captivating sights, commencing with:
The Old Sacristy, renowned as the Sacred Nail Chapel, housing numerous impeccably preserved frescoes.
The 13th-century Church of Santissima Annunziata, showcasing a bronze Risen Christ crafted by Lorenzo Vecchietta.
The Pellegrinaio, also known as Pilgrim's Hall, an expansive ward adorned entirely by a significant series of frescoes illustrating the hospital's history, created by Domenico di Bartolo, Lorenzo Vecchietta, and Priamo della Quercia.
As you depart from the Pilgrim Hall, you'll come across a display showcasing a "small portion" of relics procured in 1359 to uplift the declining spiritual morale in Siena. Encased within elaborate metalwork and adorned with precious stones. There are so many internal paths and roads it is easy to get lost within its maze like corridors. Many of which were used for bringing people and provisions into the hospital in mediaeval times.
Moving through the building, we advanced to a contemporary art display. It was apparent that this was an exhibition dedicated to children's illustrations, brimming with stunning and distinctive artwork. Since our visit, I've come to learn that it is in fact the Museum of Art for Kids.
Their mission: The basic idea is to make the little visitor the real protagonist of the museum experience, stimulating his cognitive and experiential curiosity through the proposal of targeted thematic content and dedicated creative activities. A path dedicated to care and hospitality, tailored to children, young people and more.
I found this exhibition to be captivating, as it brought together both younger and older audiences with a shared passion for storytelling through artwork, all within the backdrop of a historical and educational environment. Their aim is to be a bridge between art/artist and public came through within the display.
You can find out more about it here
Further Exploring:
I recently explored the exhibition hosted by the Collaborate module at the Arnolfini. It was fascinating to witness the diverse ways in which installations were showcased within the gallery setting. One display involved the using of windows to cast light upon a suspended glass piece, creating visual effects. Additionally, I was intrigued by an exhibit featuring a terrarium, where the passage of time and the presence of moisture had a noticeable impact on a rotating element, resulting in captivating corrosion.
I had the pleasure of visiting Jamaica St Studios to engage with professional artists regarding their practices and processes. It was a remarkable experience delving into the inner workings of their craft, witnessing firsthand how they store and present their artwork.
I explored the trail of installations at the Bristol Light Festival. It was fascinating to observe how the large-scale illuminated installations engaged with the public, allowing people of all ages to interact with art in innovative ways.
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Preparation project:
For my preparatory assignment, I selected Henri Rousseau's "Surprised!" It's an oil painting from 1861 featuring a tiger amidst a jungle setting. The artwork captures the tiger in a state of astonishment, possibly reacting to its surroundings or stealthily hunting in the midst of a thunderous storm. Rousseau's occupation as a customs officer and his short stint in military experience he never visited a jungle. Despite this, he constructed the exotic landscape of his painting using houseplants, botanical gardens, domestic cats, and a stuffed tiger from a museum.
Upon imagining this scene, I found it amusing and initially contemplated recreating it as Rousseau might have witnessed it, with his pet cat causing chaos among houseplants. However, upon further reflection, I gravitated towards a more profound concept: reimagining the painting within today's context, depicting the devastation of deforestation through slash and burn practices. I believed that conveying a message of environmental consciousness and the urgent need for conservation aligned better with the themes I wished to explore in selecting a collective group. This process brought together my classmates, Hannah, Amber, Yuyu, Shizu, Amy, and Issie, and I, fostering our collective.
To kickstart our project, we initiated our research phase by exploring diverse artists and installations to draw inspiration for our artefact. I curated a Pinterest board showcasing various ideas for our artefact. Within our group, we prioritised openness, ensuring that everyone felt comfortable discussing, sharing ideas, and actively contributing. Initially, we engaged in discussions to explore potential directions for our project, as well as identifying key themes that resonated with our passions.
After deliberation, we collectively identified nature, the environment, and wildlife as shared passions among us, making them ideal focal points for our artefact. Additionally, we aimed for the project to exude optimism, leaving a positive impact on our audience while being enjoyable to create. I proposed the concept of crafting an enormous pop-up book inspired by Da Vinci's Notebooks, while Hannah suggested a hanging mobile inspired by Salvador Dali's "Butterfly Rose" painting, which resonated as a fitting artwork to guide our project. To streamline communication, we established a WhatsApp chat and voted to determine our directions. Emphasising a cooperative approach, we ensured that every voice was heard and valued throughout the decision-making process.
our artefact:
Together, we brainstormed various avenues for our project, and I drafted a project plan on a Google Doc, enabling everyone to contribute and ensuring we remained aligned. Initially, our artwork leaned towards conveying a negative message, highlighting the exploitation and degradation of nature by humans. However, upon reflection, we collectively decided that a more positive message would have a greater impact, encouraging viewers to engage in positive initiatives for the environment.
Find our project bio and tutorial sheets here:
Following extensive brainstorming and exploring various ideas, we settled on the concept of a mobile hanging within a natural setting, aligning well with our objectives. To manage tasks effectively, we formed smaller groups within our team and delegated responsibilities that we believed we could accomplish. Maintaining a balance between workload and individual capacity was crucial, with an emphasis on open communication and a willingness to seek assistance when needed. As none of us had prior experience working in a collective or creating large installations, transparency and support were very important throughout the process.
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Sketchbook:
Making masks and beings:
Hannah utilised Midjourney AI to craft both human and organic forms, this was to explore into a futuristic interpretation of an ecosystem. Subsequently, we cut up these creations and collaged them into entities that would inhabit our installation.
We intended for viewers to progress through the exhibit, interact with these beings, and conclude by taking a selfie, and so I embarked on creating masks using the same collage process as with the beings. These masks would allow the audience to photograph themselves within the ecosystem. The first mask I made was a macquette using collage from magazines. Then for the final masks, as with the beings, I created the collages using intricate components from the AI generated art, then when happy with the composition I scanned the finished collages into the computer. The scans required editing to mirror the images (one for the front, and one for the back of the mask) and colour correct, before I printed the masks. Once I had the back and fronts printed, I had to cut them out. The fine detailed nature of the designs meant utilising both scissors and scalpels and devising a good method to ensure that they aligned perfectly. The method was to cut roughly a third of each side of a mask, before affixing them back-to-back, using the already cut out part as the guide for alignment, and then finishing cutting with them already stuck. Finally I made sure to insert sticks for easy handling, similar to how you would see a masquerade style mask. In total I made 11 or so masks, on top of many of the beings.
This approach enabled viewers to immerse themselves in the ecosystem, effectively becoming part of the exhibit. Moreover, we utilised these masks in our photoshoot to develop bios for ourselves and for sharing on social media platforms. Shizu crafted profile pictures using collage pieces and photographs, which we then shared on social media.
Photoshoot:
Gathering materials and macquettes:
To collect materials for our installation, we visited the Children's Scrapstore. Given the environmental and conservationist theme of our work, sourcing materials that were either naturally found or repurposed/recycled was paramount. During a workshop session, I crafted a maquette to experiment with the construction of our greenhouse structure. Meanwhile, Amy also created a maquette depicting the mobile, and we found that both prototypes complemented each other well.
Scent:
To complete the immersive experience for visitors to the exhibition, we wanted the space to bring with it an aroma. I experimented with creating different scents inspired by nature by blending essential oils with a carrier oil. The initial blend featured clary sage, Thai basil, and lemon oil, evoking a refreshing, leafy-green aroma. The second blend aimed to capture the floral essence and mandarin notes reminiscent of "The Butterfly Rose," incorporating jasmine, geranium, and mandarin oil. Lastly, I crafted a woody, earthy aroma using black pepper, sandalwood, and clary sage. I presented each of these scents to the collective. Following deliberation, our group reached a consensus that the first leafy aroma was most suitable for our ecosystem installation, aligning well with the natural theme we aimed to convey. I conducted further research into smell in the artworld and how we are influenced by it which you can read in the below document.
hoops and pot tests:
We began by measuring our allocated space in the gallery and strategizing the construction of our greenhouse. Amber scouted on Facebook Marketplace, successfully securing and collecting a metal greenhouse. Additionally, she used AI technology to visualise how everything would appear suspended within the installation.
To facilitate the hanging of our mobile, I crafted withy hoops from a willow tree. By entwining the strands, I created sturdy hoops from which to suspend our creatures. Then, I experimented with throwing pots to hold the masks, intending for them to be placed outside the greenhouse for viewers to take as they entered. I experimented with more unusual pot shapes, which would help present a mask to a visitor, prompting them to take and wear it. However I could not get the thrown pots fired in time and so I opted for readily available terracotta pots instead which aligned with our aesthetic and ensured feasibility within our timeframe. I then filled the pots with packaging peanuts and layered cardboard on top to support the masks. We then covered the tops of the pots with moss.
Deconstructing and transporting:
Next, we embarked on the construction of our greenhouse. Amber and I undertook the task of dismantling it and carefully transporting it into the gallery space. However, due to its age, many of the bolts and nuts had fused together, making the process quite challenging. With the assistance of Amy, Shizu, and Yuyu, we reconstructed it piece by piece. Once the framework was in place, we began decorating it.
Using fishing wire, I suspended 6 withy hoops inside the greenhouse and affixed plastic panelling to the windows, enclosing our exhibit. I then affixed fishing wire to the beings by prising the sides apart and glueing in the wire. The beings were then suspended by tieing and super glueing the wire to the withy hoops at varying lengths. Meanwhile, Yuyu and Shizu filled the space with their beautiful flora sculptures.
Work in progress:
The positioning of our greenhouse curves around a pillar, forming an entryway into our installation. We adorned this entrance with flora and fauna, inviting people into our exhibit. Amber sculpted some copper and plastic bottle flowers that were sprayed with an oxidising patina solution. Additionally, we set up a comments book for viewers to share their thoughts and feedback. This took inspiration from the "Mad Hybrids" exhibition at the RWA, we acquired a comments book that Issie collaged for viewers to leave notes within our exhibit, enhancing the interactive experience for our audience.
Using my project plan I revised our description and wrote an updated version for our collective introduction. I also began clearing out materials from the studio, giving copper and glass to fabrication, fabric to textiles and removing any unwanted extra materials in recycling.
Augmented Reality:
We aimed to offer visitors an additional interactive dimension, guiding them towards external initiatives that foster hope and optimism for conservation, environmental sustainability, and the future. Augmented Reality (AR) emerged as an ideal tool for this purpose. Through our Instagram platform, visitors can embark on a virtual hunt for local inhabitants, scanning them with their mobile devices to reveal informative pop-ups directing them towards impactful local initiatives.
The Private View:
To prepare our exhibit, I obtained a plinth for our comments book, meticulously cleaned the exhibit space, ensuring everything was aesthetically pleasing and well-organised. I was also readily available to provide support and advice to our group. Meanwhile, Amy crafted the AR component by capturing images and integrating the experience into Instagram, allowing individuals to engage with the exhibit interactively. Additionally, I wrote an introduction to welcome visitors to the greenhouse, providing them with a comprehensive experience, complemented by Amy's instructions for accessing the AR feature. Shizu and Yuyu designed posters and stickers to promote our exhibition and stuck them all around campus and beyond.
Everything came together! During our private viewing, it was delightful to witness attendees exploring and engaging with the exhibit. We received fantastic feedback regarding the masks, scents, and overall installation experience. Our comments book was filled with lovely remarks as well. Looking ahead, I aim to enhance clarity by making the "pick me" signs for masks more conspicuous and emphasising our introduction information, as some individuals missed it. Although only one AR feature was verified on time, attendees still enjoyed the experience, and all features are now uploaded for the remainder of the exhibit duration. Overall, the evening was a resounding success—it was gratifying to see the greenhouse bustling with activity and to witness the installations of our classmates.
Email Correspondence:
To advance our project, I reached out to Andy from the University of Bristol's Botanic Gardens via email to explore the possibility of exhibiting our installation within the garden space. Andy responded with enthusiasm and expressed interest in the idea, indicating that it might indeed be feasible to showcase our work there. I then followed up with a proposal of how our work might fit among the garden.
reflective statement:
In my role, I actively participated in shaping ideas, conducting research and development, and ensuring the cohesion of our group. I thought it was important that everyone has equal roles and responsibilities, and foster a cooperative dynamic within the team. Additionally, I documented our discussions and shared notes, facilitating our alignment and organisation throughout the project, including the preparation of tutorial sheets.
I also played a significant role in the hands-on aspects of our installation's creation and construction. From crafting masks and creatures to inhabit the ecosystem, engaging in scent-making and gathering materials essential for our project's realisation, deconstructing, transporting and reconstructing the greenhouse to attaching and finalising the artwork.
Overall, participating in a group project was an exciting experience though not without its challenges and accompanying nervousness. s. Initially, concerns arose regarding our compatibility both personally and creatively, as well as how our diverse art styles could harmonise to create a cohesive outcome. However, the collective enthusiasm and commitment of everyone involved propelled the project forward, infusing it with momentum.
We discovered methods of working that allowed us to develop a unified style, leveraging tools like AI and collaging to achieve a cohesive aesthetic. Despite the logistical challenge of coordinating meetings due to differing availability within our large group, communication through WhatsApp facilitated our collaboration.
I found that working collaboratively enabled us to undertake more ambitious endeavours and realise our collective vision on a larger scale. The synergy of multiple hands allowed us to surpass what could have been achieved individually, resulting in a more impressive and expansive installation.
This journey has been very enriching, offering valuable lessons in collaborative work and expanding the realm of illustration. I've reaffirmed the importance of effective communication, prioritising collective goals over individual ego, and embracing flexibility. Furthemore, I've deepened my understanding of exhibiting illustration by delving into the realms of storytelling through scenic design and fostering audience engagement.
I've learned that in order to make a significant impact in exhibitions, one must cultivate visually compelling spaces, convey a clear message, and approach new ideas with an open mind. This project has empowered me to push beyond my comfort zone and undertake more ambitious creative endeavours. Working alongside such talented individuals has been a pleasure, and I'm confident about the continuity of Mayu Collective beyond this module.
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