FINE ART
I collaborate with fine artists to assist in planning their exhibitions. I've worked with Helen Beard on multiple occasions, where my role involves creating digital models of the gallery space and coordinating the layout of the artworks. I provide detailed sections and walkthroughs, using the flexibility of the digital model to explore various configurations. This versatility allows us to consider different arrangements easily and quickly. Additionally, we share these visualisations with the gallerists, ensuring clarity and alignment on the exhibition layout prior to installation.
Helen Beard
I worked with the artist Murine Kate Dineen on a project where the requirements for a model were quite distinct. This particular instance occurred during our first show at the Saatchi Gallery, where speed was of the essence. She is a fresco artist. Given the weightiness of her artwork and the limited window of just 6 hours for installation, precision was paramount. To ensure seamless execution, I provided highly detailed dimensioned drawings, leaving no room for ambiguity or wasted time during the installation process.
Murine Kate Dineen
In another one of her exhibitions, the model served a dual purpose: not only did it aid in visualising the show, but it also played a crucial role during installation. Given the weight constraints her frescos, it was essential to ensure that the fixtures aligned perfectly with the strongest points on the exhibition flats. Therefore, the model helped coordinate these details effectively, guaranteeing a secure and stable installation.
Damien Hirst
I've worked with Damien Hirst on three very different projects.
Back in 1996, I served as art director and location finder for '100% Weird' a short film he made for TNT. Lots of funny tales to tell from that job.
100% Weird
In 2013, I assisted with the installation of massive sculptures by creating a detailed model. Each sculpture featured 12 bolt holes for attachment to the plinth. Due to their immense size, there was no room for last-minute adjustments on installation day. Moreover, the hot climate in Accra necessitated nighttime installation. My model played a crucial role in visualising the orientation of each sculpture on the plinth. I collaborated closely with Pangolin, the foundry responsible for installation, providing them with instructions on utilizing the model and guiding them on the rotation of each sculpture on the plinth.
The Miraculous Journey
In the summer of 2018 I worked on a pre-visualisation of the world’s most expensive hotel suite. The Empathy suite in the Palms Beach Resort, Las Vagas, designed by Damien Hirst. Click on the image below for more information
