30.03.2019

I arrived at AirSpace for de-install at 9:30am. Armed with 3 helpers, within 45 minutes - 1 hour it was all down and boxed away. This time working in the opposite order, we started with the elements from the bottom up. Once all the sculptures and supporting works were neatly boxed away we removed the items from the ceiling and filled any holes we made, finishing by touching up the paint on the wall where the sign was. 
Reflecting on my time at AirSpace and my first solo exhibition was very emotional. Having this experience has opened up my eyes to life as a working artist, and the jump from University to post-grad in the next couple of years will no longer feel so daunting. From stepping outside my comfort zone and pushing myself, I now have an exciting and promising start to my artist's CV. 
During my time at AirSpace I have received a great amount of support and backing through social media outlets like the Gallery's facebook page. Their final post read "Been great to be able to support Staffordshire University's Level 5 Fine Artist Polly Bates with her work "PolluShine - Is It Worth It?" InTheWindow. The work is coming down today but it has some posterity in this piece in the local newspaper - all arranged by Polly herself. With this level of commitment, ingenuity and hard work, we've got high hopes for Polly as she approaches the final year of her degree.". It was elating to receive feedback from someone with so much industry experience, and who I had worked closely with for this project. 
For the amount of hard work, commitment and months of preparation it took, the week absolutely flew by. It has been so rewarding, and I was really impressed with what I achieved. Thanks again to everyone who supported, encouraged and guided me through this opportunity, I hope I have many more. 

28.03.2019
I received an email on Wednesday that the article about my exhibition at AirSpace would be in thursdays paper. So in the morning I picked up a couple of copies to find my image on page 15 of The Sentinel. This was a very exciting moment and a fantastic opportunity to reach a wider audience, creating a buzz and crowd for the installation. It also means that someone could find and access information or images about the work without getting to the window, through the Gallery’s website. This being my first opportunity for widespread publicity, has been really successful and I have really enjoyed the whole process. I’m very greatful to The Sentinel for taking the time to include me and photograph the work, and I hope it brings more attention to the installation and cause.

26.03.2019
This morning I received an email from The Sentinel newspaper that they would like to meet at AirSpace to take some photos of myself with the exhibition. After ringing and agreeing a time, we met at 3:30pm and the photographer took a range of photos. He emailed me some and let me know it would be in Thursdays paper. 

I was thinking about other ways I could make a difference with promoting recycling and reducing plastic pollution, and I decided to write to the council. The road I live on is only supplied with a small box and bag for cardboard and paper. This is not a sufficient container as it is too small and collected only once every two weeks. From speaking to other students and residents in the area, but also just looking at what is put out for collection every 1-2 weeks, its clearly noticeable that plastic items are being thrown away into the general waste bin. This means that items that could be recycled are instead going into our landfills and spilling into our environment and ocean, leaving hundreds - thousands of years of damage and destruction in its trail. Below I have attached the email I sent as a plea to increase the recycling collection to once a week, or supply us with a recycling bin:

Good afternoon, 
I am a student at Staffordshire University living in Shelton in a house of 5. Every week our recycling is over flowing, as we are only given one small box and a bag for paper and cardboard. Not only is this such a small container, but this is meant to last us 2 weeks until collection. I have attached a photo of our box of recycling after just one week. I know that many people in the area have the same problem, and end up throwing items that could be recycled (such as plastic) in the bin because of this. 
I write to you as a plea to supply us with recycling bins or a more frequent recycling collection, so that we can reduce the amount of plastic pollution in our landfills, but also into our environment and oceans. We are at a global point of crisis and for us to reduce the damage we are causing, we first need to stop adding to the problem. I speak for all the students in the area when I say we want to do all we can but feel restricted. If recycling was more accessible it would drastically reduce the amount of waste in our landfills. 
Please help us help our environment. We need to come together as a community to do all we can. 
Thank you for your time, and I look forward to your reply. 

Polly Bates

24.03 - 30.03.2019
An installation of a staged shop window; ‘PolluShine, Is It Worth It?’, aims to highlight how barbaric and damaging we are being to marine life and surrounding species. Using a mixture of made and found plastic objects, a shop scene demonstrates the impact of man’s consumer culture on wildlife and the environment. With sourcing and packaging of our food and products, we are inflicting this lifestyle onto the animals effected. This installation is a call to arms, and recognises the need to work together to create change. Less than 20% of all plastic is recycled globally, with 40% of plastic produced being single use packaging (National Geographic 2018).


Each sculpture represents a real circumstance, a painful reminder of the destruction we are leaving behind.

http://www.airspacegallery.org/index.php/projects/polly_bates_pollushine_is_it_worth_it

25.03.2019 
I was very excited to visit my exhibition at AirSpace Gallery today, to take some photos and to watch the public react with the space. I arrived around 12pm to catch the lunchtime rush, but saw that the 'Gulf Feather Oil' had fell over. After contacting Glen and retrieving the bottle from the window, it was clear that the sun we had in the morning had caused the oil to heat up, expanding the bottle until it was misshapen. I had to unfortunately remove the piece from the window as a result, but was lucky the bottle didn't burst onto the table and table cover. 

After dealing with this minor issue, I plotted up across the road for 2-3 hours watching pedestrians as they passed the gallery. It surprised me the amount of people who managed to walk past without a glance in the window or even the direction. I hadn't considered how hard it would be to catch their attention, only how to keep it, so this was a shock to me. As I watched I realised that those who did show some interest into the installation would only occasionally stop or slow down to get a better look or to read my artist statement.

This lead me to think about other ways I can draw attention to the work. How can I get an audience to the window that weren't passers by and walking to a destination, but their destination was the installation itself. So I emailed The Sentinel, Stoke on Trent's local newspaper, with information about myself and the work with a few images. Very soon after I received a reply from the executive print editor that they would use the story in the paper! This is very exciting as now I can reach a much wider audience for raising awareness about the window and my message behind the work. It will also hopefully bring in a crowd that has more time to spend in front of the work, with time to reflect and re-evaluate the amount of plastic usage in their household. 

24.03.2019
After finishing off my sculptures and accompanying objects, It was time to box them up ready for install at AirSpace Gallery the following day. With minor jobs like building and painting the plinth, the last minute touches were finished off.
I then arrived at AirSpace this morning at 10am with two helpers for the day. As I'm not experienced with drilling and installing an array of different artworks, I have little knowledge to adapt to situations or issues that could've arose, so it was very helpful having someone who was.

We began installing the elements that were to be suspended from the ceiling, so we could work from the top to bottom. This was a premeditated strategy which proved essential to an efficient install. The window is raised from the floor of the gallery around 40-50cm, which restricts movement once the step ladder is inside. After securing the light, sun catchers, and the voile backdrop, with the advice of my helper we were able to hang the seagull from two cup hooks instead of one. This reduced the amount the sculpture swayed so that it was secure in one position.

Once we were finished with using the step ladder we were able to move onto placing the rest of the pieces, working next by finishing the right half of the window before the left. After visiting the gallery on Friday to take last minute measurements for the table and plinth, I realised I had to tweak my plan slightly. I had intended to have the table in the left half of the window, but decided to swap it over as the window's floor was raised too high from the pavement outside. This would have meant that the table would be too high, restricting the reflection from the mirror to around the bottom of a passer by's neck upwards. This could have prevented a moment for reflection that I wanted for the viewers, to be able to see themselves next to the sculptures which were sitting on the table. By swapping the table to the half of the window which was on a smaller angle of the hill outside, I was able to achieve an appropriate height.

Once I was happy with everything in the right half of the space, Glen added the vinyl lettering to the window with my name and information. This was such a surreal moment for me, I was thoroughly enjoying myself and any nerves I had about having my first solo show was replaced with excitement. All that was left was sweeping up and positioning the plinth with the 'seal choker' sculpture along with the clothes rail. Once I was happy with the positioning we trimmed the voile and drew back the divider/door.

I am overwhelmed with the result as my sketches have truly been transformed. The window doesn't look over crowded or bare, but seems to occupy the space with a strong presence. I believe that the work displayed is eye-catching, upsetting and necessarily provoking. We are at a point of crisis and hopefully the images displayed will stick in peoples minds, forcing them to take action.
I have learnt a lot so far about all the planning and experimenting needed to create a successful exhibit. My eye for detail is a lot finer now, as it is so important to keep standards high for both yourself but also the gallery supporting and collaborating with you. We had been working on the window from 10am to around 3pm pretty much constant, which was longer than I had expected, but have loved every moment.

A special thanks to Glen and Anna for aiding me with this opportunity, and to my helpers from today with install.

http://www.airspacegallery.org/index.php/projects/polly_bates_pollushine_is_it_worth_it

12.03.2019
For the run up to our end of year show, we set up a test exhibition to try out different set ups or finished works. As my solo exhibition at AirSpace was fast approaching I wanted to set up the main sculptures and elements to receive some feedback.
Using a plinth to display 3 sculptures I tried to translate a shopping environment. With the display of mannequins in front, and the clothes racks for rummaging behind. As this was just a test exhibition and I only displayed a selection of the main pieces, I kept it quite bare with a traditional white cube style display. Seeing these works in that way proved that they needed to be contained and within a scene behind them, the bare and clinical feel felt very cold with a more confrontational message. Although this could've been the way I chose to display at AirSpace, I wanted to create an atmosphere that was less loaded with accusations. Making the display in a way that didn't point the finger was very important to me as my aim is to inspire change, not make anyone defensive or dismissive.
As I was talking through my ideas and intentions for AirSpace there was some confusion over why am I making a shop and what am I selling? Making it into a shop environment is to highlight where the neglect to the marine life and surrounding species is taking place, in food and product packaging. We are the consumers purchasing products wrapped in a dangerous and harmful material, and will be looking into the shop at the impact these plastic materials are having. We had discussed using a vinyl sticker with a fact or quote in the window to add some context for the viewer to help them understand my message. I think I have decided against this as hopefully with all the elements together they will be able to read the story themselves. It's important that this work makes a strong impact on the audience and part of that experience is doing the type of 'research' into the exhibition, similar to how we should be researching into our situation. One way I can make sure there is some clarity if someone can't work it out themselves, is by perfecting an artist statement. This needs to include why it is a shop, why I have used certain materials, what type of pollution its targeting, and what is my aim of the display. 
Other than concerns about about the audience receiving my work, I had some reassuring feedback that the sculptures ignited a deep discomfort and sadness. They are powerful pieces of imagery loaded with different emotions, I believe they will really stick in peoples minds and make them reconsider the amount of plastic within their household. 

07.03.2019
Thursday we had a visit from artist Jasleen Kaur who's work focus's on identity politics and structural inequalities. Jasleen's practice is informed from inherited issues, a result of race or culture, whilst exploring personal histories of herself or others around her. 
Asking what is culture, and who benefits from cultural production? 
Jasleen explained that the word culture originates from agriculture, a word of hard work and labour. Culture is the everyday woman in her kitchen making a meal for her family that's been passed down from tradition, not necessarily an exhibit in the V&A that's labelled so. Culture is something people work at and try to keep alive. 
Jasleen went on to discuss a project she completed in 2010 where she wanted to transform the statue of Robert Napier, who fought in the first and second Anglo-Sikh war, by putting a turban over his helmet. As she was having trouble with getting permissions from the council and needed permission from the family, the direction of her work was took off course. She contacted the grandson of Robert Napier and instead of putting the turban on the statue, she asked if she could put one on himself. By wanting to tackle the power wealth empire of the men in statues in our cities, this had taken her to a direct descendent of someone who was of different ethnicities and cultures, but together, shared a piece of history. This turned into a more socially engaged practice and I would say a more successful one. They were able to share this intimate experience of her dad building the turban whilst they discussed their connections and the consequences of the war. 

I found this whole process fascinating and reassuring that even when something isn't going quite to plan, there's always an opportunity to create something remarkable. 

06.03.2019
For my four main sculptures within the installation I have been making them with a plastic base polymer clay. As you have to bake the clay for hardening once you've finished the making process, the base needs to be oven-proof. For my base I have used aluminium foil tightly packed and moulded into the shape of the animal I was making. I would then apply the layer of clay similar to a layer of skin. Polymer clay is typically used for smaller scale sculptures or objects as its quite an expensive material. But as using a plastic base clay was important within the context and story of my work, a smooth base was imperative to reduce the amount of clay being used for filling lumps and bumps. Creating a dense base is also key to the sculpture keeping its form. 

Using an array of images of Sea Turtles I then added the layer of clay very carefully creating lots of detail within it's skin and shell. After baking I used an acrylic white paint to create a mannequin feel to add to the shop details, as I would with all sculptures. I also will add a shiny glaze to their eyes to create a teary sadness within them. 

Making the Seal, Penguin and Turtle sculptures were quite straight forward as they would be free standing on a surface. The Seagull/Stork sculpture was slightly more complicated. Originally the photo the sculpture was based on was of a Stork, but reading into the measurements and scale of the bird, it was too large to recreate. So I then adapted the sculpture to become a Seagull. The next issue I had was calculating a way of making the sculpture so that it had the least amount of separate pieces as possible. My oven is quite wide so I was very lucky that I didn't have to make the wings separate and attach them afterwards or even on site. This would've had its risks as if they were too heavy they could've snapped off and I would've had to work out a type of attachment that could be embedded in the wings before baking. I decided to make the legs separate as when it would've been in the oven baking they would be at too much of an awkward angle and likely be damaged. 

Also as the bird was to be hung from the ceiling with fishing line, I had to make the bird with an attachment to allow me to hang it. This attachment had to be strong and have the weight of the sculpture evenly distributed so that it wasn't too heavy and would break off. I thought about how I can create a strong enough loop within the base and decided to use a thin but strong metal wire to wrap around the aluminium base of the bird, and twisted into a circle above the surface of where the clay would be. This has allowed me to have a subtle but sturdy way of suspending the bird.

            

I had made the base out of aluminium foil but as the wings were so thin they weren't sticking out in flight mode but instead flapping down. This stopped my making process until I could work out a way to keep them upright. Thinking about materials I could use I purchased some bamboo skewers. Taking 4 skewers at 30cm in length I pushed them through the aluminium foil and around an inch or two into the birds body so it would hold. Mirroring this on the other wing they stood in perfect position. 
Using the same idea of wooden skewers but in cocktail stick form, I created a thin base of aluminium foil covered in clay with an inch of the sticks uncovered to create the bird's legs. By baking these first and separate, this allowed me to work out where they would be attached and remove a small circle of clay. This is so that when I attach them they will go straight into the aluminium base, slotting inside the body, making no clue that they were made separately. When I attach the legs I will put a small blob of hot glue to keep them secure. 

Once the sculpture was ready to bake the wings had dropped ever so slightly, this meant I had to bend them to get them into the oven. This was seemingly no issue until I removed the sculpture and it began cooling. From where in the cooling period the angle of the wings changed from when it was baking I started to get some severe cracks in the clay. Luckily they were only on one side of the wings so didn't damage the structure of the sculpture. I then filled these cracks with some glue which seemed to hold it together. 

Other than a couple issues with the Seagull sculpture I'm happy with how the sculptures have turned out and have enjoyed the making process of trial and error. 

24.02.2019

With my AirSpace exhibition fast approaching it has been quite difficult keeping on top of every element needed in my installation. By creating a scene instead of merely displaying a couple of finished artworks I have had to add lots of details and elements correlating with the shop-front format. 

One of these elements has been creating a light/lampshade. Using a water dispenser bottle cut in half I created the base to the lampshade. Then taking a hot glue gun with different length plastic straws I was able to create a very textured and interesting lampshade, similar to those I saw in retail shops such as Ikea. 

Interestingly it turned out looking like some underwater creature in the realm of an urchin. I'm pleased with how it has turned out as I was concerned it would look crafty but instead could pass off as something you could actually purchase. This lampshade will be suspended from the ceiling of my exhibition window illuminated by an ECO bulb. 

04.03.2019
Monday this week I had a meeting with the students union and their marketing staff member to discuss press releases and posters for the plastic bottle top installation. This meeting consisted of going over dates and details for the workshops and brainstorming other ways we can get the students involved in the process. Some ideas were having a free entry night to the students union LRV Flashback Fridays when you bring a certain amount of bottle tops with you, drop off bins/boxes in the union shops and communal areas like the library, and potentially having a stall outside Ember Lounge for one afternoon.
We also selected two different dates the workshops could be held on. For the workshop with the University's Nursery I presented my idea of making a bottle top fish instead of a wave mirroring the end result. I thought this would be a better idea as we could use all the colours collected I won't be using for the final outcome (such as oranges and reds) within the scales/fish. This will leave a fun and colourful artwork for their wall, which I feel is more suited to young children. This also would help with content for the workshop as we can focus on facts surrounding the animals effected, which is also more suited to the age group.
I also was asked for the title and to write three lines with information on the artwork itself for the posters. I thought hard about what I should include within this text as it needs to summarise what were doing but also why. Here is what I came up with:
Plastic, The Slow Tsunami
Plastic pollution is damaging the world around us, becoming an un-natural disaster. We invite you to be apart of our campaign as we work to produce a wall based installation of Hokusai's The Great Wave from plastic bottle tops. It's vital we come together to create change.
It was a very exciting meeting hearing all the support and activities that are going ahead for this project, it's all starting to come together nicely and I'm very pleased to be apart of it.

01.03.2019
As well as the brochure I thought about producing a leaflet to gain a buzz and an audience to the window, a 'SALE NOW ON' leaflet coinciding with the shop scene. I had first created one that read 'SALE NOW ON' and 'Caught up buying the same products?' which was a play on words of how we buy the same products over and over not considering the journey before or after of the product. We are creatures of habit and could potentially not realise the damage we are doing. The Seal is also therefore caught up in the same products in a more literal sense.
After speaking to one of my lecturers we discussed how this could be read in too much of a jokey, playful way and could give people the wrong impression of what i'm creating or trying to say. Also as my intention is to hand these out to passers by in the local town I need to consider, is this ethically portraying the animals and could the images be disturbing to young children or certain groups of people.

After considering all the possibilities to misread the message or cause upset I decided to change it entirely. By reducing the information on the leaflet it reduces the risk of misinterpretation and also adds to the mystery and necessity of going to the window to see the work themselves. Using a photo of one of my sculptures instead of the animals eliminates the question of am I handling the images of animals with enough care, but also gives a taster of the work in the window as well. 

01.03.2019
Along with making sculptures and creating the installation I want to have some documentation accessible for passers by who are further interested. By linking it with the whole shop arrangement, I used the idea of creating a catalogue/brochure to hold the items on 'sale' (which were the items exhibited). I have made the brochure to hold the images the separate pieces were based on, the photos I had found of the pollution debris devastating our natural wildlife. Featuring the photos the work was based on instead of the sculptures themselves shows that they weren't imagined circumstances and aims to shock the reader. Pairing each photo and item on 'sale' with a fact on pollution is making a statement that this is all burdening the animals for free. The price the animals pay are not of a monetary sense, but of pain and suffering.
Out of respect for the information I am relaying I wanted to make the brochure quite serious and informative as we should be taking the facts very seriously. Impactful and easy to read I am quite pleased with how professional and clear they have turned out.
I also added information of how the reader can get further involved in taking a stand themselves, and added my blog so they can read more about my process and thoughts behind the work.