Part 5- Exhibition Folio and Review
Assignment 5 Record of the Exhibition- Evidence of Feedback including https://weaveprint.com/
Gillian Morris Student No. 511388
In conjunction with “Documenting my Exhibition” I have recorded all the feedback gleaned from the live exhibition in process including face to face written and verbal feedback. Alongside this the feedback which was left on my website weaveprint.com through use of the QR Codes at the exhibition have been read, reflected upon, and analysed to aid my continuing professional development as a textile artist. Many of the online visitor comments emphasised how much they had enjoyed my exhibition, that they loved the use of vintage linen, the provenance of the materials, my creative process and work. There was repeated mentioning of the increased scale of my screen-printed panels and how this affected several individuals, of the impactful imagery and material use, and of the immersive experience from walking around and within the wall hangings and central installation. Given that between twenty-thirty individuals visit my website every day I now regularly receive feedback on the completed blog entries especially concerning my creative process and work on an ongoing basis. I have started to create a database of those interested in what I do to generate and maintain continuing follow up and support going forward.
Many of the artists within the Wasps Artists Studio Complex at Hanson Street, Dennistoun, Glasgow visited the exhibition and offered specific feedback concerning the vintage linen panels. Resident artists including painters acknowledged the colour palette used alongside what they saw as Japanese influences throughout the imagery with the restricted colour schemes in use. There was often closer inspection of the screen printing, of the layering effects, of the overlapping of imagery and colour from both a technical perspective and aesthetic viewpoint. It was pleasing to have discussions with other artists about the work, the creative process and what I did as well as how I did it. There was more of a professional exchange of ways of working and how the creative processes are related with which proved to be insightful as artists relayed much about their own professional approaches.
As the other artists were readily aware of what it takes to work at such a large scale and to produce such an exhibition there was increased recognition of the scale of work undertaken whereby, I was regularly congratulated for putting on such an ‘ambitious’ solo show. The resident artists commented upon the overall professionalism of the exhibition, of the fully considered layout and placement of the work to enable all the large-scale panels to be best seen from all angles and to enable each piece to be fully viewed. I particularly enjoyed how the other artists and public all took time to stop to view the exhibition, to really look at and appreciate the vintage linen panels and to understand what the exhibition was about and what I was communicating through my creative practice.
Some artists focused upon the narrative itself and the associated impact of the imagery, of its meaning and resonance for them. On understanding the narrative, discussion often ensued concerning the colour palette and just how well it suited the narrative and the conceptualisation of mental despair through to repair, of the visceral effects that could be felt. Some individuals reflected upon the imagery at greater depth, of the human-emotional quality of the screen printing, of relating to and with this sense of mental crisis given the imagery and how it linked with the colour palette. For others it sometimes evoked some of their own experiencing which was briefly discussed especially pertaining to the central installation and how it felt to be held within and between the panels, of this sense of being cocooned in a protective, comforting, and supportive way. The importance of emotional regulation through self-soothing and calming was reflected upon which was supported by some psychoeducational literature as appropriate. There was mention of the hand stitching throughout the central installation, of the analogy with mending and repair which some liked to touch and fully experience.
WeavePrint 