Producing work that responds to a specific location presents particular challenges. In this article, installation artist Sarah Roberts discusses some of these. She shares her experiences after graduation on all things installation based.
It’s 7.30am. I’m waiting for the loading bay to open at Victoria House for the setup of Saatchi New Sensations. I’m in a pair of dungarees with an entourage of STUFF that’s just plain embarrassing. It’s bursting out of my (successful) friend’s Land Rover. I see someone handing over a small painting and leaving with a coffee still steaming hot. Job done, outfit clean, and I wonder how in hell’s name I got here…
“The better new work takes relationships out of the work and makes them a function of space, light and the viewers field of vision. The object is but one of the terms in the newer aesthetic. It is in some way more reflexive, because one’s awareness of oneself existing in the same space as the work is stronger than in previous work’
[Robert Morris, 1966, Notes on Sculpture, Part 2, Artforum, Vol 5, No.2]
I left university having made a piece of work that sprawled itself across a room. An assemblage comprising of over a hundred components. All ‘made’ for the event in plaster, metal, glitter, foam, perspex.
Here, in the excess, was my best stab to date at creating a sculptural interlude. One that was less subject to objectification, and more about a present encounter with these new reflexive ‘things’.
With a show already in the pipeline for which I was to reproduce this ‘aesthetic’ there seemed to be no turning back. I was shackled with the albatross of logistics that hangs around the neck of the installation artist.
From the off my series of fortunes and hardships[?] seemed inextricably entwined…
So here are a few notes, for others that bear this beautiful burden of excess on how I’ve [almost] survived so far …
Benefits and drawbacks of working with sculptural installation.
- Each show creates new work
- It’s rewarding to work with a rich range of materials
- Encourages curatorial involvement
- More difficult to apply to opportunities with speculative work
- It’s a labour intensive way of working
- This type of work is harder to sell
- Installing work is stressful and time pressured
Proposing speculative work
My first encounter with this dilemma was with the Parasol Unit Exposure 14 show. I had 3 weeks to submit a proposal. They normally ask students to provide the degree show work selected for the award. In my case we agreed I could submit a new work for the gallery space.
I tailored 2 images using Photoshop of the space with mocked up scenarios within them. I used photos of existing similar pieces and inserting them into this mis-en-scene. This was pretty effective. It gave a clear picture of what my usual cladding modes and colour palette might look like in the space. I was however clear that the work in actuality would have shift as it progressed.
For my work, the most important thing in a proposal was to get across the aesthetic and tactility of the piece. The agreed proposal gave me something to work towards. It also reassured Parasol unit they knew what they were getting.
At our Lifeboat mentoring session Ceri Hand gave some great advice. She said that in cases where people are asking to see examples of work, they are just that, ‘examples’ so. Its likely you can propose a new work long as it relates to the work/aesthetic that led to your selection.
Finding space big enough to work
I struggled to find a space to work in London. As time ticked on and I hadn’t found anything I resorted to extreme measures. I hired a space in my hometown in Gwynedd, Mid Wales on an old army base.
That’s my first tip, if you can’t find it in London, then maybe get out until you can.
Whilst I was there I applied for residencies and signed up to waiting lists. With hindsight I wish I had done in my second year at university as time on the lists acts in your favour.
Scheduling your time
I timetabled in a working day. Working outside the institution to your own hours means you’ll either never start or never switch off. I like to timetable and 8hr day and then anything more is a bonus.
It also helps with scheduling around other work and stops you from feeling guilty when you’re doing one thing and not the other.
Tips on managing materials
Getting to spend a LOT of time with EVEN MORE material is the real joy. Experimentation is key to my practice, but the decision to include so much in one work makes production schedules challenging.
Over the summer I had 3 shows simultaneously. They were great opportunities to show and build a portfolio. This meant over the next few months I had to plan and fabricate 250 new elements.
I find labelling and keeping an inventory of installation components helps. Keep a list of what goes in and out of storage and when. You can locate things easily if you ever want to reuse them.
There’s no real way around this one. I lost interest with the found object and started to crave the autonomy that working with newly made elements gave. It’s a simple fact, materials are expensive. To combat this
- Sign up for trade cards. Always ask for trade rates. Remember that places generally add VAT.
- Also check the bargain section for waste paint samples and split bags.
- If ordering from sculptors merchants do it in bulk as carriage is pricey for small orders.
- Recycle and share resources where you can with other artists.
- I just found out about the ‘ART JUNK’ App that you can download for updates on available free stuff. This is a great way to find free materials.
- Sketching out ideas is the only way I can see so far to avoid bankruptcy.
Managing the unknown in site responsive work
Being a sculptural ‘installation’ artist, means the exhibition itself is an intrinsic part of the work. It’s a terrifying prospect to have a show coming up and not 100% knowing what the work will look like. I know roughly what it will contain, I know the aesthetic, but it only really comes together when I’m there in the space.
What if it doesn’t ‘happen’ it’s such an instinctive approach so what if it fails me on the day? The night before the install is still nauseating. Gill Addison, one of my tutors at Chelsea told me to trust my instincts and enjoy it. As time progresses I’m getting there. There are also a few practical things that help
- Visit the space in person if possible
- Ask for an image of the space and a floor plan you propose a work.
- Make a rough plan but be aware it may need to change. A space might feel different once your there in person. It’s important to go with your gut.
- Label and wrap everything well
- Find out about arrangements and timings for loading in and out
Tips for installation and takedown
- Get there EARLY and be super nice to everyone. Having good will on your side is a real benefit if you need to ask for help! At one install I was told that I was the only one who offered to help clean up. So on takedown I had no problem getting help from technicians when I really needed it. Karma lives.
- Be realistic. If you can’t do it yourself take someone with you to help. I needed 3 helpers for a 3 hr takedown, it really was the only way.
- Hire a Zip van. Day hire is more practical and flexible than a courier for dropping off/picking up large volumes.
- Check in advance there are parking arrangements at the gallery
- If it’s a load in and leave situation then you can’t really drive it yourself so you need a designated driver. If you’re really lucky you might have good friends with big cars!
- Ask if the gallery can provide packing materials, or store the ones the work comes in.
And so, for now, rather than decamping to a painting course for the wrong reasons I’ll settle for what I am. I’ll keeps going with installation as long as it excites and surprises me. Surely they can’t all be this big? Next year, maybe it will be me, it will be me, holding the tiny painting and watching the girl in the dungarees struggling with a million sculptures in the back of a Land Rover.
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