Friday seems to have passed in a blur, with the knowledge that the plans i'd made were just about accomplishable on the condition that there were no hitches or hiccups along the way. So there was the pressure to be accurate and do things right first time as well as the time issue! Cool as cucumber I was not, but it came together. Ironically one of my favourite things about the work was the layout of the smaller parts on the left hand side of the space, which I finished in the last half hour or so. There's something immensely satisfying about its incidental squareness.
As I was finishing up I became aware that despite my best empirical efforts there was still an intense musicality about the room, and the object. Some of the heavier suspended parts had stretched their strings so taut that when brushed (or deliberately plucked) they played a very clear note. The progressive nature of the arrangement of the pieces (large to small) had a feel of musical notation to it - decrescendo - and their shadows (and/or the fishing wires) the staves. I included the recordings i'd made of the removal of the strings as ambient sound in the space: and echoey noise in a highly resonant space, and despite the rather quiet volume it was set to, there were times when the sound in the room was so loud it made conversation difficult. I liked the intrusive nature of it. It's been demanding all the way through.
Conversations with some artists at the private view has made me consider whether or not the space was too full. It definitely felt crowded with many people in there, but I'm not sure there's anything I could have left out without some detrimental effect.
Any suggestions as to what I could do with the pieces come tuesday would be great, as I'm loath to throw them all in a skip but can't afford a fluxus-esque mailout as I spent all my money on animation.
Watch this space for less frenetic developments over the next few days - exhibition closes on Tuesday 14th.