Visits to The and Manchester museum. I was looking at method of display especially of historic artefacts. I visited the Egypt and Sudan exhibit and the south asian exhibit to see how certain cultural items might've been displayed. the south asian exhibit had a display case based on crafts of everyday items using sustainable material. Although they are everyday items the display case creates an sense of archive or protection which speaks to the language of the gallery.
Conversations at the National Museum of Liverpool broadened my understanding of picture-making. Sola Olulode's use of textiles, paints, dyes, batik, wax, and ink, influenced by Nigerian Adire textiles with their indigo inks and resist dye techniques, sparked my interest. I was particularly drawn to the idea of creating images without relying solely on paint, as drawing is my primary medium. This encounter intrigued me to explore other non-traditional materials that could embed layers of meaning directly onto my canvas.
On a tutor group visit to the the Lowry's 'Local/National/Internation exhibition, I was particularly intrigued by Aliyah Hussain’s abstract sculptures inspired by familiar plant forms. Her work combines touch and sound, with some pieces inviting audience interaction. Being encouraged to handle selected sculptures highlighted how material and context are deeply intertwined in her practice. This inspired my own degree installation, where I placed gloves beside my sculptures, suggesting they were meant to be touched although I left no explicit instructions. This subtle invitation recalled Hussain’s approach, encouraging viewers to engage physically and reflect on the relationship between object, material, and meaning.
Renee So's exploration of transnationality as a consequence of colonialism and the historical commodification of culture resonated deeply with my own thematic concerns. Her minimalist exhibition design, characterized by ample negative space, encouraged active viewer engagement, inviting them to piece together the narrative threads within the installation. This approach influenced my consideration of display for my degree show, prompting me to think about how strategic use of space could foster a similar sense of contemplation and individual interpretation of the complex histories and identities I explore through my work. So's subtle yet potent use of objects to evoke broader historical and cultural contexts also informed my decisions regarding the placement and relationship between my sculptural and two-dimensional pieces.
