…and all is mostly ok. In fact it’s pretty good with only a handful of tiny retouches needed. One is high in the corner of course, high enough to need the taller stepladder.
Complete, the slipped monochrome is looking sharp as the thunder rumbles away outside. In the courtyard Yona Lee’s shower heads somehow make more sense in the rain, the chrome tubing all splattered with rain drops.
Back in the gallery, my painting, Very modern leans against the wall, sitting on bubble wrap, corners still wrapped in tissue paper. A pixelated grid. Content free.
I’m still getting used to the scale relationship between the painting and the wall work. In my head the original idea of an actual size painting persists and needs replacing with the reality of the twice actual size work I’ve made.
It’s been interesting watching my confidence levels fluctuate during this install, today (Tuesday) particularly. Moments of doubt about the work in the space, the wall work in particular: Is it good enough? Is it any good at all? What the hell was I thinking?
Late in the afternoon we work on the lighting. Going for an all over flat spread of light, three lights hanging down from the lighting track obstruct the top edge of the slipped monochrome. They’ll go, but only after some fiddling around.
With no light shining directly on the slipped monochrome it’s much flatter. It works well. Reflected blue light hits the adjacent walls. A spotlight on the painting lifts the colours. However, despite our efforts, the overall balance of the room isn’t quite there. It’s almost 5pm - this is a job for Wednesday afternoon.