I recently had a trip to the
Yorkshire Sculpture park and had a look at the
Peter Randall-Page exhibition in the underground gallery. I was looking at his pieces with more depth and thought about the process more than I usually do at these sorts of places.
I thought it was interesting about how these pieces that are stuck on the wall are attached with velcro. At first this seemed like a perfectly good way of attaching it, its practical in terms of moving the exhibition about and it seemed to be holding up pretty well. Then I spoke to one of the gallery assistants who told me that they keep falling off and having to be re-installed which I can imagine becoming annoying considering how long that exhibition is due to stay there.
I was fascinated with the texture of these plaster sculptures, it inspired me to think bigger about the kind of thing that me and Ruth are working on and consider the texture of the piece more. I like how it is sat on the floor, no need for a plinth, almost like an obstacle or an intrusion in the space.
In another room there were tables full of maquettes and sketchbooks with all the information that helped the artist to scale up his pieces. The gallery assistant told me that Peter Randall-Page puts pins into his maquettes and then measures between each pin and multiplys that amount by however much bigger he wants to make it. I thought this was really useful to know because it could help us.
I then took a look at the Rob Ryan exhibition that was on. He makes delicate cut-out pieces of cute little scenes often with text about romance or comments on life. His work did not seem like that of a male's, it has a feeling of femininity about it, in a sensitive and delicate sense.
I thought it was interesting about how these pieces that are stuck on the wall are attached with velcro. At first this seemed like a perfectly good way of attaching it, its practical in terms of moving the exhibition about and it seemed to be holding up pretty well. Then I spoke to one of the gallery assistants who told me that they keep falling off and having to be re-installed which I can imagine becoming annoying considering how long that exhibition is due to stay there.
I was fascinated with the texture of these plaster sculptures, it inspired me to think bigger about the kind of thing that me and Ruth are working on and consider the texture of the piece more. I like how it is sat on the floor, no need for a plinth, almost like an obstacle or an intrusion in the space.
In another room there were tables full of maquettes and sketchbooks with all the information that helped the artist to scale up his pieces. The gallery assistant told me that Peter Randall-Page puts pins into his maquettes and then measures between each pin and multiplys that amount by however much bigger he wants to make it. I thought this was really useful to know because it could help us.
I then took a look at the Rob Ryan exhibition that was on. He makes delicate cut-out pieces of cute little scenes often with text about romance or comments on life. His work did not seem like that of a male's, it has a feeling of femininity about it, in a sensitive and delicate sense.
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