John James Marshall thesis.pdf - OpenAIR @ RGU - Robert Gordon ...

of work at once using a shop window type fix. It was nice and that’s unusual. In
a gallery situation if you wanted to do that you would have to pay a fortune on
plate glass partitions, etc. to create that look and feel so working with that was
really important you couldn’t ignore it you had to work with it and make the
most of it. I liked the way that show felt and the way the show sounded. It was
annoying to have the fire doors that were tied into the fire alarm system with
electromagnetic catches. We had to put up lots of signs to encourage people to
get right to the back.
11. Were you happy with the way the work was displayed?
Have addressed that.
12. What could have been done better?
We didn’t energise the lobby or the façade of the building and I would have very
much liked to see something happen there even Simon Husslein’s clock could
have could have possibly been in the lobby but the orientation of the staircase
didn’t necessarily make that the best idea. I would have liked to make more of a
punch to start off with. It was too quiet there wasn’t any sense of mystery or
anything like that because we kept the show quite dark and I would have liked to
introduce that element of mystery to start off with. There was that sort of
notion that you weren’t walking into an exhibition but that you were walking
into some sort of laboratory. We could have played more of that up. If I could
have changed anything I would have possibly tried to beef that up a little bit. It
might have meant putting volunteers in white coats which you would have
hated. We had the glory of being able to change the layout right up to the last
moment which was a bit of a challenge because plinths were designed to go into
particular places and there were only certain places where you could put them if
you were going to move things around. So we were actually able to change stuff
- it could have been a lot different and we could have been stuck with stuff being
in certain places. The classic one was Simon Husslein’s room because the light
the piece cast created a very particular feeling which I really didn’t like and this
room has to share with something else and it took the magnetic pieces from Ben
Woodeson to actually energise that space. Ben was an interesting one because
he wanted to put those pieces everywhere and I think it wouldn’t have worked.
In terms of the two rooms we did put it in I think it worked particularly well, so
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