So far this month I have made a three research visits to galleries:
4 Oct 2012
This was an impressive show of 26 screen prints, the installation of which enhanced the viewing experience using 5 surfaces to both provide sufficient space for each print and also to have the effect of disrupting the expected sequence. This resonated well the works themselves where the object and the letter in each print do not correspond
5 Oct 2012
This powerful retrospective of photographs documenting the Caribbean community in and around Birmingham over the past 5 decades. All the images were B&W and the continuity of image making had the unsettling dislocating effect of being unable to readily distinguish the era for each image without closely examining the image and even then, I was often surprised when I checked the date in the accompanying text. The installation and pictures worked well together to engage the viewer more closely contemplating the work. This is the result that I am also seeking for my own work.
13 Oct 2012 [Firstsite, Colchester]
The piece that I found most engaging and satisfying was the Yogic Travolta Screensaver & Clock, 2012 over 5 large screens (London, Paris, Tokyo, Milan, New York) as one entered the building; referencing clocks showing world times that might be found in large banking institutions.
In one work Jennings had applied paint to a photographic silver gelatine print; the paint was a spectrum of colour that was parallel to and balanced the tall industrial chimney in the photograph. He was exploring the intertextuality of the two media to make a unique dialogue in the work. When I first viewed this piece I was reminded of some of Gerhard Richter's work where he used a similar technique with found colour photographs and I wondered whether Richter had been influenced by the work of Jennings decades earlier. As yet I have been unable to discern whether or not Richter was influenced by Jennings.