I have taken a series of installation shots, which I hope to use in future ‘marketing’ to see if I can get further shows in 2020 and onwards.
I have opted to show these in black and white, as I think this is both in keeping with the photographs in the installation, and helps to more clearly see the layout.
This is the view directly in front of visitors as they enter the space. The two introductory boards start the show.
Entrance – Wall One
Wall One
There is a reception desk, and as one turns past it, one sees:
Hanging Posters, and towards walls 2 and 3
The video and display cabinets
Wall Two
Seating area
Displays, towards walls 2 and 3
Leaflets, strut cards and postcards.
The Grid, Wall 3
Many people commented up the print style, asking how it was done, and who did it. It is the Loxley Dibond Metallic, which embeds a Fuji Baryta paper print inside te metallic acrylic finish. I had chosen the finish as I felt it complimented the infrared images, and also ensures that the photograph and quote are literally inseparable. For the A2 grid, we had ensured that each image was parallel to the wall.
Loxley Dibond Metallic
The display cabinets have both specially made information boards and archive materials.
Genocide to Hope
The 4 history boards are laid out on traditional Cambodian chequered scarves – Krama.
History Boards, from above
A view across both displays, showing direction of ‘traffic’.
General view
And, finally, a look back towards the entrance:
Back towards the entrance – Hanging Posters
Full set here in black and white
Full set here in colour