Install: We were given 3 days to fully install an exhibition in the gallery space. Here are some images of the install. We all worked together in the group in order to make as much progress as safely as we could. Curation is an area that  we needed to talk through more as a group, we have numerous meetings in the space to talk things through. After critical reflection I would say that it is compulsory for one curator in a group to make decisions , as negotiating things as a group do not work. 



The exhibition was successful, there were 90 people at the private view. Everyone responded very positively to the organisation that I put into this collaborative residency and to the curation of the exhibition, that was as a result of the residency. 


Hannah Ball, ‘Sail’, Habotai silk, coloured lights and fan, 3.50m x 1.43m, 2017.
Hannah Ball, ‘Sail’, Habotai silk, coloured lights and fan, 3.50m x 1.43m, 2017 and Hannah Ball, ‘Zeppelin’, concrete, 30cm x 30cm x 45cm , 2017.
Hannah Ball, ‘Sail’, Habotai silk, coloured lights and fan, 3.50m x 1.43m, 2017 and Hannah Ball, ‘Zeppelin’, concrete, 30cm x 30cm x 45cm , 2017.
‘Tearduct’, ceramic, glaze and salt, 64cm x 71cm, 2017.
‘Tearduct’, ceramic, glaze and salt, 64cm x 71cm, 2017.

Interactions and feedback:

I was lucky to have my critic in the exhibition space, where upon I received both positive feedback and areas to improve on. For example the display of ‘Tearduct’. Whether plinth was conceptually part of the work or simply for display purposes. Reflecting on this I would say that in future exhibitions display will be a main point of concern for my work. How the audience reads a piece of work is just as important as the actual work itself.

Photograph during my critique, 2017.

A photograph of myself and two other artists that were involved in this residency and exhibition…

Hannah Ball (left), Honor Carter (middle) and Ally Mcguin (right), photograph during the private view, 2017.


This exhibition was a project that we set out to achieve externally from the university. I was a decision made through from the idea that a residency would be a successful collaborative project and the potential for an exhibition surrounding a common theme that referenced all of our subjects of ‘Unseen Drifts’ was chosen. This residency was arranged by myself and we spent time choosing the location of the accommodation in order to be central for travelling around Cornwall. During my week I collaborated with a creative writing student (Oliver Harrop), producing a film called ‘I neptune’. I produced a painting and costumes for our externally sourced actors that we sourced for the purpose of this week. This was my main focus for the week, however I did also spend time making art for exhibiting.

We decided to do this external project because it would be a good experience to gain more contacts and place our skills into an environment and to fully immerse ourselves, with fellow creatives for a week.

This experience for myself proved to be very successful, having the constant interaction with other people about the ‘potential’ and ‘phenomena’ of Cornwall itself and the concepts attached to our work. I have most importantly learnt that arranging a residency and an exhibition solely at this vast level, was a lot of time wasted away from the whole purpose of putting on an exhibition. Therefore if I were to do it again I would make sure that the organisation of the trip was more successful, which allowed time for planning at the very start and end of the project such as the curation. I potentially took on too much because of the scale of the project. Having said that, I was able to successfully complete and get through the many complications along the way.