Monday 6th March 2016

I had a good chat with Emrys today about the potential direction of this project and maintaining the energy that had been created prior to pausing the project at the end of January.

The point that we we at prior to the PAUSE was that I had got to a place where I had a potential installation in my mind.

I really want to begin to focus on the final piece and begin to assess everything completed so far and what I can use and what I can let go of. I spoke of my desire to portray how this issue makes me feel, the emotive aspect and why I feel so strongly about the issues surrounding migration and the refugee crisis.

I also spoke about my desire to introduce some projection mapping into the installation and the possibilities surrounding technological interactivity.

Emrys suggested that I look at two artists Mike Nelson and S Mark Gubb in relation to the interactivity and experiential nature in their artwork.

 Mike Nelson

Nelson’s installations always only exist for the time period of the exhibition which they were made for. They are extended labyrinths, which the viewer is free to find their own way through, and in which the locations of the exit and entrance are often difficult to determine. His “The Deliverance and the Patience” in a former brewery on the Giudecca was in the 2001 Venice Biennale.[2] In September 2007, his exhibition A Psychic Vacuum was held in the old Essex Street Market, New York.[3] Essays on Nelson’s projects, ’24A Orwell Street King’s Cross Sydney’[4] and ‘The Deliverance and the Patience’[5] have been written by artist/curator Richard Grayson.

His major installation The Coral Reef (2000), was on display at Tate Britain until the end of 2011. It consists of fifteen rooms and a warren of corridors. This work and its showing at Matt’s Gallery earned him his 2001 Turner Prize nomination.

The Coral Reef 2000 is a very large architectural installation consisting of fifteen rooms with connecting corridors. When installed in a gallery the entrance to and exit from its interior are through single doors in the gallery wall, so at no point can the exterior walls of the installation be seen. This ensures that the scale of the installation cannot be deduced from the outside. Upon entering the installation, visitors arrive in what looks like a waiting room. This leads to a shabby-looking cab office with a calendar from the Muslim Association of Nigeria attached to its wall. Beyond this point, visitors can move as they wish among a network of poorly lit and dusty passageways leading to other rooms. Despite displaying signs of occupation and use – the rooms contain furniture and various objects, while lights and screens have been left switched on – the inhabitants of the highly dilapidated and enigmatic space are nowhere to be seen. Only other visitors are encountered along the way and it is unclear from the plethora of items in each room – which visitors are not allowed to touch – who the occupants might be or what they might do.

S Mark Gubb

Here is some third-person blurb about me…

S Mark Gubb (b.1974) lives and works in Cardiff. Born and raised near Margate, Kent, he works across a range of media incorporating sculpture, video, sound, installation and performance. The subjects for his work are drawn from the social and political culture he grew up in; an equal fascination with things he finds so great and so terrible about the world we live in. This often takes the form of a re-evaluation and re-interpretation of contemporary culture and history, provoking us to consider our contribution to the world we live in.

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