The Oyster Eye

BACKGROUND Quiddity asks audiences to engage with artworks not from the perspective of the artist or curator, who privilege narrative, purpose and iconography, but from that of the conservator or registrar, who see art in terms of materials, taxonomy, provenance, condition, and size. "Quiddity" questions how the passage of time and entropy effects an art object; revealing the life it may have outside the context of Gallery display. CONTRIBUTION The two-dimensional work "Oyster Eye" is made of 46 individual ink on paper panels and usually arranged on a wall to form one large image. In this new presentation, the work is radically altered by layering the individual panels on top of one another to create a sculptural form. In this new arrangement the gold bound edges of each panel are highlighted changing the focus of the work by accentuating its material support. It poses the research question " how can a 2 dimensional work create new knowledge when deconstructed and rearranged as a three-dimensional object? My use of multiple panels offers a new reading and interpretation of the work seen out of its original sequence and asks the viewer to engage with the work from a sculptural and conservation perspective. This research and new knowledge has lead to a re assessment of my 2 dimensional works on panels in terms of presentation and potential for new multiple readings. SIGNIFICANCE Curated by Jon Buckingham, Collection Coordinator for RMIT University's art collection in collaboration with 6 students from the RMIT Master of Arts Management program. The exhibition was accompanied by a catalogue, a virtual on line tour, education kit featuring the work of Peter Ellis, U tube video, floor talks and on line dialogue between curators & Danielle Measday conservator of Natural Sciences for Museum Victoria and a range of public programs.