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. 

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. 

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.

22.02.2019
Having heard back from Glen at AirSpace Gallery, my proposal has been accepted so I need to start finishing works off and getting fully prepped for the week. My 'In The Window' exhibition will run from installing on Sunday 24th March through to de-installing on the following Friday 29th March. My Proposal for the space is as follows:

PolluShine– Is It Worth It?

100% from the ocean 

My practice – 

I am currently a Level 5 Fine Art BA (Hons) student at Staffordshire University. Recently I have opened up my practice by experimenting with sculpture and have attained a love and appreciation for the three-dimensional world of art. Having gained some experience in prop making and scenic art within theatre, I was able to experience installation in a different context compared to a gallery setting. This has inspired me to create my own displays and scenes. Being a vegetarian and a conscious recycler I spend a lot of my time worrying about the waste in products I use, instead of being proactive and being part of the change. Producing work that could make a difference has always been an aim of mine, to leave a mark on someone and alter their perception, even if in the slightest way. I haven’t had an opportunity yet to reach a wider audience, and AirSpace would give me that chance. The more we see about how our lifestyles are damaging the world around us, the more likely we are to adjust. 

Aims –

I will create a luxurious staged shop window of a jewellery/clothing store ‘PolluShine – Is it worth it?’ to highlight how barbaric and damaging we are being to marine life and surrounding species. By featuring the animals we are neglecting through pollution debris we are leaving behind, I want to create a confrontational display in hopes of provoking change. By using recycled items and a plastic base clay I want to keep the materials a true reflection of the context. Including play on words like Pollution and PolluShine, Garnier’s ‘because you’re worth it’ slogan and other hidden gems. 

Proposal – 

I propose to have in one half of the window a large table covered entirely with a silver fabric and a three-part mirror, along with polymer clay sculptures of the animals/heads made in the fashion of mannequins. These animals will be promoting our pollution as fashion accessories or jewellery. The table will be eyelevel to those walking past so they can see the animals and themselves in the reflection. The jewellery and accessories featured will be a Penguin cape (beer plastic around neck), a Turtle nose stud (straw in nostril), a white stork rain coat (clear plastic bag) along with a few others. In the adjacent window, I will continue the theme and have a silver clothes rail featuring a few ‘one size fits all’ clothing items (also relating to images sourced) e.g. a fishnet dress suitable for any specie. From the ceiling I will hang the stork along with sun catchers fashioned from melted plastic beads and have a plinth displaying the seal head. 

My hopes for this project is to make a believable shop window that’s glamourous and enticing as viewers walk by, but they soon realise it’s a shop of horrors. I would love to be able touse AirSpace as a platform to reach more people than I ever have before, including a wider collection of people.  As the window is located in a busy pedestrian area in town, it opens up the possibility to an audience who may not normally access galleries or enter the world of art. 

Logistics – 

For technical requirement’s I would need access to a plug where I can use an upcycled plastic straw and water barrel lighting lit by an eco-bulb, and hang some elements from the ceiling with transparent fishing line. I would also use a tulle fabric hung by a thin curtain wire against the back wall. Along with the display in the window I will be handing out leaflets promoting a ‘sale’ to create awareness, also having brochure of the items. Using images the pieces were based on, instead of the price in a money sense it will be the price the animals pay each day. If possible I would like a leaflet holder outside holding this brochure. 

29.01.2019
I had a short trip to Prague, Czech Republic, this week and whilst I was there I noticed that in contrast to all their traditional Gothic and Renaissance style buildings, it was quite an urban and contemporary city. A few shop window displays seemed to blur the line between an art installation and  a decorated window. Using technology and screens as an aid to catch passer by's attention, one shop really struck me as innovative and creative with the props and items used to accessorise their shop display.
In one of the city centre's streets I also came across an art installation of a fishing net holding an assortment of plastic bottles and litter, lit with some colour correlating lights. As the piece was high up it was easily missable, which I think coincides with the possible message. As a culture we seem to know about the damage plastics are causing our environment and wildlife (especially in the more recent years) but seem to do nothing about it. Research and activists are providing us access to crucial information that we should be pursuing, but as this causes extra effort in our daily routines, we choose wilful ignorance over action. By having this statement piece there but easily missable or easily ignored it provides us a window to see how we know about the problem but choose to ignore it. Seeing activist art pieces tackling the same themes in a different country reinforces that this is a worldwide problem that needs action, but also excites me and gives me faith that little by little we can make a difference and encourage change.
During my stay we also visited the Prague Castle where they had staged scenes of what life for the workers in the Castle would have been like in the early 1900's. This was also helpful for me to see how they filled the space with different objects and props to make the area look lived in and natural. This is the effect I want to create and it was helpful to see different types of spaces who have similar intentions, and get a grasp of techniques I can implement myself.

15.01.2019
After having a meeting with AirSpace's curator Glen on the 10th, I was able to really home in on what I wanted to say in my exhibit and get an idea of past window exhibitions to see how mine would compare.
I had seen on the Selfridges website that they were engaging in a creative campaign, State of The Arts, bringing art to unexpected places. From my last visit to Selfridges I was able to delve into their window displays for Christmas and I was excited to now see window displays that directly link to my vision.
Featuring art in their Oxford Street windows is a fantastic way to bring public art to a community, but also brings an exciting new way to experience art. This helps making it more accessible and broadens the audience you will reach, including some who may not normally visit galleries or experience art in a more traditional way. It also changes the way the art is viewed and the relationship with the viewer. Simon Periton explains that "The work will be experienced in glimpses and that's where a public artwork is different to putting a piece in a gallery". When visiting a gallery you expect to spend at least a few hours (potentially a whole day), spending time examining the art and reading the different emotions it gives you, where if you're riding the bus or walking past you really do have seconds. This creates a certain pressure and responsibility for the artist to grab the viewers attention as quick as they can and hold it for as long as they can. This grab and go, fast food style of exhibiting is new and exiting but also challenging.
Collaborating with some of the UK's leading galleries and critically acclaimed artists they have also created a 'corner shop' inside where you can buy a sculpture or painting as if it is a bag of crisps and a can of lemonade. I was shocked to see some of Jeff Koons' small balloon animals on sale amongst sketchbooks and pencils as if it belonged there.
Cass Art have also teamed up in the 'corner shop' where they are selling artist tools and mediums that customers can take home and try themselves, also putting on daily workshops or talks at 14:00 where anyone can join and get creative or involved with important conversations about the world of art. Again, this is opening up the (what sometimes feels closed) community of artists and art lovers showing that all is welcome, from established artists to someone walking by who just wanted to join in.
Although the work in the window was in a very different space to a gallery setting, they still had the same white cube feel with crisp white walls, feeling very clinical. It was great for me to see a similar use of a shop style scene but to also get some ideas on how I would do it differently.

http://selfridges.com/GB/en/features/articles/selfridges-guideto/state-of-the-arts