Seeking Inspiration for Art Installation

Recently, I gathered numerous objects from the streets along the watercourses of London's hidden rivers. The sheer quantity and variety of these found items left me overwhelmed, pondering how to transform them into an art installation. Whenever I feel stuck, I often take a walk to seek inspiration from the streets, museums, and galleries around London. This time, I focused on how artwork is presented, particularly installations, to gather ideas for my own project. During my recent exhibition visits, I was especially captivated by Anselm Kiefer's Early Works at the Ashmolean Museum, Barbara Steveni's I Find Myself at Modern Art Oxford, and Ian Hamilton Finlay's Fragments at Victoria Miro. These exhibitions revealed diverse fragments of reality and provided a wealth of ideas for presenting my work under a unified theme.

Anselm Kiefer at the Ashmolean Museum

Visiting the Ashmolean Museum was an unforgettable experience. Anselm Kiefer’s work is known for its deep engagement with history, memory, and myth. The use of materials in his work is particularly compelling. I was struck by how he manipulates materials, texture, and form to convey profound narratives. His pieces often incorporate organic materials, such as straw and ash, alongside traditional media. This exhibition showcased his early work, including watercolour drawings, woodblock prints, and oil paintings.

The display that caught my attention was the poems on the wall near the entrance. As I entered, I saw the two sets of two poems on the walls in the exhibition space. One set is written in German, the original language, and another set is translated into English.

Poems by Rainer Maria Rilke - German version

Poems by Rainer Maria Rilke - English version

After walking past the poems, I encountered Kiefer's paintings that were created in response to them. The poems established the tone and mood for the paintings I was about to see and helped me visualise the scenes described in the poems despite the absence of figures or objects in the paintings. This experience motivated me to write a poem, providing some context that helps reveal something not evident in my installation.

One of the paintings inspired by the poems was displayed after reading them.

Also, Kiefer’s ability to evoke emotions through the physicality of his artwork provided an idea for considering the tactile qualities of the materials I want to use.

An essential takeaway from Kiefer's exhibition was the importance of narrative. Each piece seemed to tell a story, whether it was directly related to historical events or more abstract concepts. I found this perspective invaluable; it reminded me that the fragments I incorporate into my installation also need to serve a narrative purpose. This realisation has shaped my approach to the selection of objects.

Barbara Steveni at Modern Art Oxford

The exhibition of Barbara Steveni's work at Modern Art Oxford presented a different, yet equally thought-provoking, perspective. Steveni's exploration of everyday objects and their transformation into art challenges the conventional notions of what art can be. Her meticulous attention to detail and the surrounding context of each object stirred my thoughts on how I would display my own found objects.

Invisible threads interlink the various objects she collected in the contexts within which she was situated and responding. I felt I took a similar approach to her art practice for this project, and it made me think about the interlink I unconsciously made between objects I picked up on the streets.

In Steveni's work, the choice of object is crucial. Each piece offers a window into a broader commentary on identity and existence. I was particularly inspired by her minimalistic aesthetic, which invites viewers to engage with the subtlety of the objects presented. It provided a refreshing contrast to Kiefer's more monumental approach, showing that the smaller fragments also carry immense significance.

Hanging objects from the ceiling with clear string, such as fishing lines, creates a clean and minimal aesthetic, directing viewers' focus towards the objects.

This experience led me to reflect on how I could curate my own installation. Would my fragments be arranged in a way that emphasises their individual beauty, or would I group them to create a collective narrative? These questions propelled my creative process forward, prompting me to think critically about the role each element would play within the broader context of my work.

Grouping objects creates a collective narrative rather than individual beauty.

Ian Hamilton Finlay: Fragments at Victoria Miro

The exhibition of Ian Hamilton Finlay's "Fragments" at Victoria Miro concluded my recent exploration of how artists present their work, particularly through the lens of the curator. Finlay's unique blend of visual art focuses on the themes of 'revolution' and 'maritime.' His work illustrates the coexistence of language and imagery, with each fragment contributing to a larger conceptual puzzle.

Maritime theme work - the ship's bell, polished and evenly spread out on the white wall. The bell is not used for its original purpose and has been transformed into a reminder of time and past events.

What intrigued me most about Finlay's exhibition was the story behind each fragment and its placement within the space. Each piece invites contemplation, as no explanations are provided, encouraging viewers to consider how the shape, colour, mass, and texture of the objects convey the story and mood of the artist's concept. This reflection prompted me to consider how I present my own fragments—not just as isolated objects, but as integral elements within a larger dialogue.

Finlay’s night scene evokes the Committee of Public Safety, which controlled France during the Revolution, with twelve named candlesticks.

As an artist, I believe that the conversation and interaction with viewers are vital. Inspired by Finlay, I want my fragments to engage viewers and compel them to sense the story and mood behind the installation. It requires careful thought in presenting each piece to ensure that the essence of the story remains clear. I also considered including text or poetry alongside the visual elements to further enrich the viewer's experience, a thought that came to mind after seeing Anselm Kiefer's exhibition.

Bringing It All Together

Reflecting on these exhibitions, the common thread that stands out is the exploration of fragments as a means to connect broader themes. Each artist, in their own way, emphasised the importance of narrative, social commentary, and the emotional resonance of materials. Now, my goal is to synthesise these insights into my installation, potentially putting together stories and moods from each fragment of the hidden rivers.

The interplay of materials, aesthetics, and conceptual layering is the foundation for presenting found objects. By focusing on a unified theme, I intend to create an immersive experience that engages the audience in many ways. This means considering not just the visual representation but also the emotional and intellectual responses that my installation can evoke.

In conclusion, exploring the works of Anselm Kiefer, Barbara Steveni, and Ian Hamilton Finlay has undeniably shaped my approach to my installation. Each artist provided me with a deeper understanding of how fragments can be curated to reflect broader themes, narratives, and emotional landscapes. The insights and ideas gained through these exhibitions will not only guide the development of my artwork but also inform my future artistic endeavours. They will also inspire me to continue seeking out new sources of inspiration in the ever-evolving world of art exhibitions.