Have you explained how constraints applied in professional practise could affect your final outcome, such as feedback from clients or users, cost of resources, health and safety?
I read the health and safety guide and successfully prepared a health and safety sheet which is in this section of my blog - Window installation and evaluation. The costs are also located in that section.
I also had 1 on 1 tutorials with my supervisor and she gave me some feedback and changes I should make from which one of them was to link more artists into my work. This is when I decided to add Valerie Jolly into my final piece.
Have you explained the commercial viability of your final outcome and how your final outcome would be produced or manufactured on a commercial scale?
Since my final piece is a site specific installation, it will always need the same type of space if it was to go in a gallery or so. It would also need to be in a similar scale box with a glass window in the front; however whats inside the window could never be made once again. This is because all the objects in the installation come from me in person. These objects do not exist anywhere else because I either made them, or had the given to me as a gift at some point and such objects can never be replaced. I do however have items such as Spray cans and bottle caps, but this itself would not be enough to do a replica of my installation.
Have you considered any professional constraints that might influence your ideas?
The main thing that I'm worried about in my installation is the heat given from the light bulb. Most of my objects are made from plastic or wax and these can melt or deform at higher temperatures that are given out by the light bulb. I will need to consider how far away I need to place these objects from the light to make sure they do not catch on fire or get damaged in any way.
Have you researched artist's approaches and attitude towards their specialist areas?
An artist should always make sure they are original. Normal paintings and drawings no longer stand out in te marketplace. When the artist approaches a gallery, they must have a portofolio and will most likely contact the gallery owner. The way they'd do that is most likely phoning up a memeber of staff or the owner himself and organise an interview. Once they get an inteview and that might take a long time, it is good for the artist to look important. Dressing smart is also the part, they love their artists to ‘look the part’, so being confident, and talking up a good sales pitch is the right away to approach a gallery.
Have you explored how commercial viability affects the development of your ideas?
I looked into that and over time, my ideas did come to some change. At first, I was thinking to make the borders of my installation black, but as I looked more into Cornelia's work, I picked up that she always used a white surrounding to get the shadows from the light. Black would just absorb the light and wouldn't give as much shadows. This would damage the viability of my work.
Have you investigated methods of commercial-scale production or manufacture of chosen work?
Whether the work can be manufactured or not, all depends on what the object is made from. In my case, it's personal items and something that does come from such source, cannot be manufactured. Items made by the artist themselves are usually just one item without any replicas; however when the artist works with a group of people who help create his work, manufacture here is very easy. Let's say the artist designs a bronze statue. The artist himself would usually seek help in a manufacture company who would help him create it. He gives them the design and they can create it not only once, but several times. In these cases, manufacture is very easy as the manufacturers can remake the artwork as long as they have the design. Usually when an artwork is damaged in a gallery, the artist asks the manufacturer to rebuild this artwork once again.
Have you applied your developing understanding of professional working practise of improving your work?
I made several sketches of my piece before I got to the practical stage of applying thread onto my objects. I planned out what I should hang them on and the choice was either fishing wire, metal wire or thread. The analysis of that is at the second paragraph of Window installation and evaluation.
I have also created a small model oh how the installation will look like showing the location of the light bulb and the objects that will be placed inside of the window.
The artists have influenced my developing ideas the most. The more artists I researched, the more I thought about applying them to my piece. In the beginning, I was thinking about using Howard Hodgkin in my work and do his style paintings as the background for my installation. This thought quickly went off as I researched Cornelia Parker who did the work with the light bulb.