Week-22-Project Development

Getting ready to exhibit:

This week entailed getting ready for one of two exhibits. This week is on November 14th at the Hollywood Scupture Garden and Gallery.

The week began with making and finalizing all the prints for the exhibit which consists of 12, 11×14 images, 2 (16×20)’s and one diptych consisting of 2X(40×30″) images. The 11×14 images  (trimmed down to  10×14) to give more space for the frame surround.  The full frame images on the 11×14 paper left too wide a border and the paper white drew the attention.

I did some tests and cut down the border to approximately 1 inch all around the image and was very happy with the look. It allows the eye to concentrate on the image. This, in addition to the floating frames I used, which has a very thin black frame and black backing allowed the images to “float in limbo” which I feel gives the image the ability to pop out at the viewer. I also trimmed down the 16×20 images, giving about and inch and a quarter border, to the same effect.

“Guiding Light” Image framed and floating in frame. Photo by: Pierre Chemaly©

All the images had to be spotted and prepared for floating, framed and signed, both back and front.

Spotting the prints. Photo by: Pierre Chemaly©
Adding spacer for floating the print. Photo by: Pierre Chemaly

 

 

 

 

 

 

Cleaning the glass was very tedious and time consuming, in addition the cleaner the company suggested left streaks and I began to experiment with all types of cleaner from alcohol to disillled water to mixing the two. I tied various lens cleaners and various cloths all to no avail. In the end I went down to the hardware store to see if they had a solution. The sales girl suggested a product with vinegar in it, I was skeptical but desperate and to my surprise it worked very well, that to-gether with plain old (very soft) toilet paper: WORKED! I had minor lint, but rid that with a big camera bulb blower, and a wipe with lens cloth and a photograhic lens brush and finally got down a sytem that worked. I attached the spacers to the prints, and then the print and spacer to the backboard, signed the print (which also takes some practice and had to reprint quite a few images because the signature was not right, the list goes on.

I have to say that this whole process was extremely time consuming and difficult, I am glad I did it. The benefits far outweighed the problems, because I could tailor and tune the presentation of the image to the point that I was very happy with it. A professional framer  would have been way too expensive, to work at this level, in addition I would not have been able to choose the look I was finally happy with had I gone that route. I experimented for weeks, no framer would do that, unless paid an exorbitant fee.

The title cards are hand made (with deckled edge, I learned how to do from the paper company) I brought out my old Olympus typewriter and typed out each title onto paper, in courier, then mounted the paper onto black cards cut from black photo matt card.

My old Olympia.Very appropriate and linked at Ariane’s Thread. Photo by: Pierre Chemaly©
Title Card with typo: Words and image by Pierre Chemaly©

 

 

 

 

 

 

Title cards for the exhibition. Words and image by Pierre Chemaly©

Again, very time consuming, one typo, and the whole thing has to be redone. Was a lot of fun, brought back good ‘remembrances of things past.’  figuring how to center the type. The information about the show was also made, printed onto cards and framed. I used the computer type to do this.

 

‘Fences: Between Ideas and Dreams’ Words and Image by: Pierre Chemaly©

All this making  is making me think about constructing my own book as opposed to haiving one made. I chose to print my own work, frame it, make the title cards  build my own space, because I like working with materials in all forms and also in terms of making the art and housing it. For me the two are one. The frame as important as the work of art.  It is through the materials that the work is transformed from the idea to the concrete, and I enjoy making that happen. I can only presume, that my meeting Ansel, had some indirect effect on me printing my show, albeit come to fruition some  three decades later. I always respected the fact that he could photograph and print his own work, not may photographers can boast that skill. Even the greats of the past like Henri Carier Bresson to the contemporaries like Andreas Gursky  do not have the ability to print their own work. That part of the process has to be done by someone else.

The diptych I printed (40x60inches) photochemical process on resin coated paper. However had it professionally mounted onto 1/2 inch black Gator Foam.

Half of my Diptych 40×30″ Photo by: Pierre Chemaly©
Attaching wire to back of image. Photo by: Pierre Chemaly©

It is very light weight and easy to hang, but very difficult to mount unless one has a huge vacuum table. I had this done at Hadas Picture Framers in Van Nuys, it was the cut into a diptych, which I decided upon so           I can transport and store it easier than one long image 40×60 inches. Hadas helped me with the hangers and I hung it at the back end of the exhibit fence with relative ease

Installation and setup.

I bought the ‘fence’ at Lowes Hardware, a 10×10 foot dog kennel with a gate. A friend helped my pick it up and install it at the HSG location. So here is also a materialization of an idea.  I thought about using a fence to hang my images, searched the streets and the internet and came upon this ‘almost perfect’ cube fence with a gate.  A dog kennel, repurposed to enhance the theme of  labyrinth/cave/forrest in which to hang my images.

Outside Lowe’s with the dog kennel. Photo by Joe Bagley©
Loading up the kennel at Lowe’s with my friend Joe. Photo by: Pierre Chemaly

 

 

 

 

 

Drove up the the Hollywood Sculpture Gargen and Gallery (HSG) and set up two days before on the 12th, to give me a day in between the set up and the exhibit. I am glad I did that, as my big frames for the 16×20’s came in late on the 12th and I had the next day to frame the images. It was a close call, I almost had to go with conventional frames if the floaters did not arrive. But it worked out, albeit last minute. By this time I was very confident and experienced at framing, accomplished the task in a matter of hours.

Set up at HSG.

The decision here is: Do I leave the fence open and see through to the garage, (ie hide nothing) or do I enclose? In the end I decided to use a see through black burlap,  allowing one to ‘see through the glass darkly.’

The back of the HSG, the garage Dr. Robby gave me for the exhibit. Photo by: Pierre Chemaly©
The 10ftx10ft Cave/Labyrinth set up, draped with black burlap. Photo by: Pierre Chemaly©

 

 

 

 

I found the length I needed at Joann’s fabric store in Los Angeles. When I saw, smelt and felt the material, I liked it right away. There is something very ancient and mystical about burlap.  It takes me back 1000’s of years.  Joann’s is a massive warehouse of cloth and fabric, they had the 14 yards I needed plus everything else: burlap thread to stitch it to the fence, big eyed needles, red thread. I abstarcted a careful list, to see if I could construct the whole thing without missing an item.  I almost achieved it, but needed some extra hooks to hang the images, other than that I had everything I needed.

Joann fabrics. Glendale Calif; Photo by: Pierre Chemaly©
Large selection at Joann fabrics. Photo by: Pierre Chemaly©

 

 

The burlap is dark black, yet see though. maintaining what I like about fences.  They are always see through, one can always see the dream or nightmare ahead (foreshadowings of what is to come) At the same time it gives a feel of separation and closure symbolizing the forrest, cave or  labyrinth.

While at Joann’s I selected the red thread that would provide the link between the idea and the dream, the connection between cause and effect. So we covered the fenced area with the burlap, hung the images and I ran the red thread from entrance of  the cave/forrest/labyrinth all the way around to the exit.

Black annealed wire on back. Photo by: Pierre Chemaly©

The images are all double stranded with black annealed wire on the back.and came up with using lamp chain as links to hang the images. Originally I looked at S hooks but they did not quite extend to form a complete S and could easily unhook if someone bumped a picture.   The lamp chain links are study  and at the same time easily bendable into a S form with two pairs of pliers and can be shaped so as to hook onto the fence and the picture frame so it could not easily dis-lodge.  I used two hooks per image.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The event went fairly well, not as many people turned up as I had hoped but could not expect much on a Thursday morning. I am hoping that the Sunday event will have a better turnout not so much people that I know but individuals who can tke the project to the next level. Other curators newspaper  etc. Glad I had that day experience, It will help me prepare for the second showing on Sunday the 17th.

This is where the reality of this business is, this part is the easy part, it’d making the show move on and upwards from here that is the challenge. I am hoping to use this event as a stepping stone to the next gallery. I would very much like to tour with it if possible so putting my enertgy in that direction.

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