the ground-plan and the direction of the visitor.
the available space and its possibilities in arrangement, interpenetration and intersection.
the design of the exhibition theme.
the formal media, line, surface, color, and sculpture, etc.
the movements of the individual and his perspectives.
the technical media, the material.
– Herbert Bayer, Fundamentals of Exhibition Design (1937)
Herbert Bayer (1900-1985) used ‘field of vision’ as his script for designing exhibitions, with which he would present images and information in an experiential way. Visitors would acquire information and meanings as they moved through the exhibition.
Bayer assumes that the viewer is a man of ideal height.
‘Field of vision’ as a term is interesting in its changeability. It seems both a functional and philosophical idea, used to communicate information efficiently. It literally relates to what can be seen within the periphery or within the edges of your sight, and at the same time is quite a romantic term with an aspirational statement bound up in it—an idea of vision as progress.
Images present information, and the display and experience is configured for this exchange.
From a Field of Vision takes on this historical form and simultaneously hollows out the information imperative, the need to transfer time through an image. The forms of still life and instructional imagery are used to bend towards relationships between the display and the architecture of the image.
Andrew Kennedy graduated from Elam with a Masters of Fine Arts in 2012. Recent exhibitions include Ornamental Labours with Blaine Western (Blue Oyster Art Project Space, Dunedin, 2014), Fathoms with Richard Frater (Michael Lett, Auckland, 2014) and a hollow action, a room held together with letters with Blaine Western (Artspace, Auckland, 2013.)