Sunday, 15 February 2009

Today I am catching up with my blog. I was a bit poorly with a horrid virus over the end of January/early February and am afraid silibats spot was rather neglected.

My mid year uni review was clouded by feeling ill, but I managed to do preparation before date and then had to take time off after to fight off bug. I am waiting for feedback meeting which should be soon.

Have been busy since return to uni with show preparation. Alex and I decided on "Then and Now" for title and were offered an extra week which we have accepted. It means we open a week early (no pressure), but private view remains on 27th as invites had already gone out.

Digital darkroom and printing have been very helpful, and I am now ready to start carving figures for lodge installation in 3D workshop. I am looking forward to it as now feel there is a small chance things might come together in time. Managed to do all the preparatory paperwork this weekend, and we hang the show on Thursday. Going to be a busy 2 weeks.

Since last post Pam and I handed in our joint review of Lozano Hemmer`s installation at The Curve, Barbican. I managed to see War photography during my visit, and loved Gerdo Taro`s and Robert Capo`s work. I shall post review and invented artist film soon, along with my recent work.

We had events day on Tuesday Feb 3rd, but following "Snow Monday" uni was sadly a bit quiet. I put my recycling posters up in the galley and canteen as arranged, and saw some of my fellow students work, which was fun.

I am looking forward to seeing some of the other students shows soon too. Now we have brief for our final year 1 essay, I think I will start to research but will leave writing until after our show to have some breathing space

Today I revisit Epstein's Jacob and the Angel at Tate Britain.  The title of this assignment is "Encounter with an Art Work".  I would like to compare my impressions of the sculpture when approached from different routes.

On my last visit I came into the Tate through the main entrance.  Passing through the swing doors from the main gallery the sculpture stands to the left of the stairway.  From here the viewer immediately sees the work full length.  Jacob's back is towards you and the Angel looms over Jacob supporting his collapsed frame.  The top of his head and wings are visible over Jacob's head.  I was immediately struck by the power and solidity of the Angel as he clasped Jacob's limp frame to his chest.  I could immediately observe the relationship between the two.  
Today my approach is from the side entrance to the Tate.  Climbing up the stairs the sculpture gradually comes into view on the right.  From here the back of the Angel is first seen.  The rectangular from of his wings and the top of his head are visible.  It is only when you arrive at the top of the stairs that the full length of the sculpture can be seen in profile to the right.  

The two figures are chest to chest, the Angel displays strength and stability in his wide erect stance contrasting with Jacob's limp posture.  

I think this is a very powerful work which can communicate with the viewer when approached from either angle.  However, for me, the entrance from the main gallery is the more exciting because it affords a full-length first impression of the figures rather than their gradual appearance as you climb the stairs.  

I do not know if Epstein created this sculpture to be shown in Tate Britain would be interested to find out if it is a site specific work.  Did he want it to explode into view or slowly unfold?