Exhibition Meetings

Below is our planning sheets for things we needed to plan. We also have a Teams chat for all of the degree groups that we have used to keep in touch about the exhibition and with the tutors. We also have a WhatsApp chat group for contacting each other.

Below is our first official meeting we attended to assign roles to people.

Roles:

Sam - Timekeeper/Task Manager

Katie - Social Media manager/press release

Jess - Curator/Graphics/press release

Ella - Point of contact/partnerships

Emily B - Graphics (I took over this role)

Emilie - Treasurer/Fundraising/Helping Hands for events and installation

Susan - Project Manager - Installation/Partnership/Fundraising

Marie - Event Manager/Fundraiser

Sam's job role was to make a Gantt chart of all our roles and tasks and go around checking that we are on top of those things.

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Below is the floor plan of the space, and Susan created a provisional plan for where we will all be in the space:

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Meeting:

Red = me

I think most people will probably go home and have dinner first and then come out, so I think 7pm is probably more realistic for the private open evening, until 10pm is fine because some people might want to come out later.

Getting home from Exeter that later is an issue though. I need to get Shelly and ask if we can borrow a band for that night or I can get my neighbour's DJ. Are you okay to ask Shelly that?

You need anything for your social media side? Do you need like bios, pictures, do you need artist bios? Put up a bit about each artist that is exhibited. Do you need our Instagram's to link?

Yeah, not sure yet because we haven't got any pictures of anything like that but we're going to actually be putting in the hands but we can use all the idea of what we're going to be putting in there so pictures of the venue, pictures of the space and the shop front venue where it's going to be. I'll get these pictures I should, well there'll be on line.

Photography: I think it would be beneficial we should insource that, Andy I think would be good job but then it depends if a student will be willing to come the job. Ask Andy for recommendations if he knows who would be a good student who would do it Andy potentially would be quite good as because he lives much nearer to Exeter.

So, I think we should have one big poster to attract the attention and roughly explain. And then we'll have a couple of little ones. Was it you who mentioned having artwork on the table as well, our artwork to give people so to look at?

Yeah possibly, I was just sort of imagining right, agree or disagree with this actually, tell me what you think.

I was just kind of thinking that okay so I'm walking through horizons, I'm walking through the Danish and walking towards Horizons and there's tables, great and there's the art and design banal, whatever you're going to have and there's a poster with some information about a raffle and that's good too but you wouldn't normally approach the tables unless there was something to look at Yeah, on the tables You'd more get people coming in for curiosity because they're looking at stuff for charity or whatever it is so it's that yeah so any if you would think about you know the RSPB or I don't know vets or any charity people will draw you into a table full of stuff before they actually get me to swipe the thing off the table so I don't know if it's a tune...

Could we do like a cake stale or something like cake?

Yeah, cakes would probably bringing more people than artwork but it depends what date it is because you're going to be there for a while so sometimes do cakes, sometimes it might be a little stand like Sally puts together when we have open evenings.

They can ask Sally like if she's got her standard prints that she puts on little easels and she's got a few kind of pots and dresses and things that we've kept back over the years. Yeah, you could get some past artwork random artwork to just draw people into the stand We can ask the students if they've got anything willing to donate as well.

What just for people to look at on the table? Depends how many days were there for, but we could have like an exhibition each day of a different artist to give someone a reason to come back maybe.

Like for example you Susan, you could have like, stay, look at this artist Susan.

I was just thinking about how you draw people into the stand. How you get people to come and have a look. I'm hoping we'll be standing there as well. I've got bumblebee outfit. Unfortunately, that's usually the reason people walk away from a stand. They think you going to sell them something and they don't like talking to people with things.

Things to look at. Or just the information that you're doing. Even if it's just artwork and information about the exhibition you're doing.

14th may. Okay brilliant, that's secured in the diary. Do we know what's going on with the invoice and the payment for the place?

That's what I'm going to ask. So, we've been told by Katie, apparently, it's been paid for. It's been covered, hasn't it? Yeah, that's come from the HE funds alright so they've paid for the space already.

Yeah, they probably want something concrete to pay for, don't they? If the venue is payable. Yep. It's a big, big thing to pay for.

So definitely looks like you have to have a business account to be able to use the square thing Marie so I'm trying to up you have to have a business account to be able to accept money so I am going to upgrade this one to a business account.

So, what are we doing about collecting the money?

We have a card machine. So, they can just swipe. That's what I'm sorting out. We've got the PayPal account I've just got to attach to the machine.

No, it's the PayPal square one. Yeah, no, it's not an official one. It's like a little thing.

We need to know how much money you're trying to raise.

Basically. We need to know how much money... We estimate like two grand. The click fund is paying. And how much money you guys need to actually raise.

Do we still think two grand is the right amount or do we cut that back completely?

Because it feels like a lot now. What we need to see is actually what has been paid for. Do you have a list a budget list So what do we need to budget?

What else? Food and drink Do we don't repay the fuel for the hire?

So mini bus is free So mini bus fire and fuel is free on the quote.

So, if they need food and drink... Oh, so right, so here's all the things that happen that you don't budget for and don't account for...

So, you suddenly realize that actually you're going to have to buy or hire all of the glasses and plates and cups and bits and pieces, because the college won't lend you it, or they don't have any, anymore...

So that's like a question mark... So obviously the sooner you contact anybody about anything that you were going to borrow the sooner you'll know if you need to borrow it or if you need to actually buy it.

I mean I got all my wedding stuff absolutely everything from a place called Chaplains in Plymouth which was so ridiculous s me, you know, like 7.99 or something, for a box of, like, 200 plastic champagne flutes.

So, what can also then happen of course is that they say yeah Absolutely everything's provided and we've got this and we've got water and we've got this and we've got that and then you get there and it's a mess, and you're like, we need to go to buy two massive types of white paint.

So, sundries or extras, which would be a big job, which would be filler paintbrushes, rollers, because we don't have any of that really paint you know that you could drop to 200 quid just on that if you end up needing bits and pieces and then do, they really have the walls really do they have everything do you need nails screws clips like all the hanging equipment now you know sort of like drills and stuff like that greatly.

I've probably got bits as well to be fair. Yeah okay, cool move. So obviously you're all giving your time for free so that's great.

Social media isn't costing because that's free social media.

I'm just literally thinking out loud. A lot of it works. So, printing of posters, printing of posters printing of flyers printing of handouts of business cards in from like that are you having like a poster or signage or information or anything like that at the venue or in the window, so you can be printing posters from the outside of the shop probably, it's helping people with what's going on inside, what else have you got?

So how early can we advertise that? You're also going to be printing name labels, name tags and information on the artist.

I would imagine everything is going to be labelled as it was in any other exhibition so you might have a little bit of information about the artwork and or bio and name tag for everybody's artwork.

Again, just don't underestimate that was probably about 50 or 60 quid worth of mountain board, just printing out all your names and sticking them on the book walls. This is why I need to write a list for installation now.

You might have installation costs; we just don't know what they are now.

If you suddenly realise, and this is what happens, is that you're there on the day and you decide to put that person over there and you're faffing about the last three hours.

Do you want me to order with a business account? You can get a card so you can pay for it from the PayPal account.

So, I'll order one of those things. And you'll try and make sure before you leave that you've got tons of extension leads and cable protectors and...

You'll try and think about all of that but inevitably something will happen on the day or you might need more of.

Right, they're in, walking around, champagne, napkins?

Do we... Napkins? Just get paper or do we get some nice ones? Band we're looking at are we looking at a band for the exhibition opening?

We're looking at band for the fundraiser. Are we looking at a band or music in any way for the exhibition opening?

Yeah. That's great. So, this is all venue checking stuff. You have a list of what you need and you have a list of questions and you make sure that they're all answered when you go and visit venue. Is he open all the time?

So, I think we probably just need to speak to Katie and say it's really urgent now that we I think she wanted to speak to us and visit the venue and figuring out what they've got and what they have got.

She said about this Wednesday, didn't she?

I'm pretty sure the entire point of that day was that it didn't overlap.

Because if it does overlap with an exhibition here, then...

No, it doesn't overlap. That's the whole point. So, the exhibition starts going up here the week after yours.

So, you should also be able to take every extension lead, every plinth, every kind of, you know, you should be able to take everything as well.

That's why I write every single thing. I take every list of all what we need taken over, make sure it comes back kind of thing.

So, is anybody else going to come to hair and beauty fundraiser Tuesday? I can come if you need me to, I don't think we need more than two people really but you're very welcome to come.

If anyone wants to come, they can. The lady on desk at the installation wants to know how many of us are selling on the stall, next week because they will be going to allocate seats for us to watch the show.

I've got my prints. I don't know how much space that's going to take up. There are five different styles of print, so I guess. I've got a couple of the little household of things that you can have. Display stand things that would be good for the raffle table if you'd like? I think we should use an easel for one poster? Do we have an A0 sized board? We've got a card in the department that we could access and mount it on to If you want to do that Then we can move it around and we can keep it outside here, for the poster.

It's not a case that we're hiring a venue and having a curator do it all, and their team, we're doing it all so we need to sort of eliminate stress and not take the most focus for our work.

I'm struggling to find a QR code for people to pay.

Can we have your square machine to use? Is that okay? Create a QR code online. Is there a link? I've never done that before. 

Yeah, there's a link to pay. PayPal.me. You make a QR code off that link, so you literally type in free QR code.

Right. And put the link in. You can actually do it on illustrator as well, I think.

So, I think illustrator does have a feature already and it's better to use.

I think it's in design.

It does say we can't access it straight away because we are a new account but I'm sure that won't take long I've ordered the card as well so that when the money's there we can spend from the card.

Oh nice. That's so cool. That's how it works when it comes to buyer. I'm just checking on here now and see if it works. So then like if anyone uses a card, they need to give you receipts and you'd keep track of what's spent what's not.

Yeah, but it will also list it in PayPal what has been spent.

So, we should know but yeah. Keep receipts as well. Yeah, if you do receipts and then you can. Yeah, I can check them make sure there's nothing missing.

You're like the gatekeeper. Yeah, that's fine, I can do that.

I have just, yes, I've just, just done it. It is paid for. I think the gallery space was where we were going to do our fundraiser out there. So, I think that I'm about to email query about posters.

I mean I've got the QR code now as well which is good so I can put it on the posters.

Yeah, just send it, I'll put it in the group or send it to me, but I've got a copy please.

Looks like it works to me. Yeah. Happy days.

We have a QR code, we have a PayPal account, we have a card on the way and we will have a card reader through Marie to be able to accept my payments.

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27th March

So, I just want a message that I'm carrying forward from Emily.

Can somebody touch me with Emily because she hasn't been in for some time because of health reasons.

So, if somebody would get in touch with her and just, yeah, like we can send her this recording but also kind of just a bit more about the specifics of kind of what her role is and catching up in terms of the progress of this exhibition.

Yeah, we've had a few meetings anyway and I think everyone's like well-established on what they're doing in the plans.

No, I just don't think Emily has... Yeah, she was doing the flyers. That's what she chose to do. Does she know what she's making? Yeah, we've had it written down on that, haven't we?

Yeah, I think... It's on Sam's Gantt chart. Maybe she's not... She's got her individual one, actually. Oh, was she not that one? You did that? No, she had it off of her own. Anyway, if somebody could touch Basie, just remind her or whatever.

Next Wednesday, the 3rd of April at 3.30pm, George is proposing you guys go down to the space and meet with him make sure you take Obviously a list of questions that you need to know.

I would encourage you to ask about how the space is being invigilated throughout the time as well, just to double check if you guys have to negotiate some plan for that.

Or whether it will be found. Yeah, I'm assuming because it's a space that is used by studio holders anyway, that that is kind of how they manage their shows.

But just have that conversation with him and make sure that if there is an expectation that one of you is there during the show, then you're aware of that and you're managing it on a timetable or whatever.

So, and I'm sure you've got other questions in terms of install and what equipment is available and just say, just make sure, have a brainstorm and make sure that you've got all these questions to prepare for them.

Do you need to ask about fixtures and fittings? If they have anything, then? Yeah, yeah. All right, a list of do's and what is that. Any way to go. So, are you all pretty much available on that phone?

I need to see Talmo. Right, so we need to let Sally know that we're off.

Is that 3.30? That's half the three. So, it's at the end of the day, I guess, if you could maybe come here first and then we can find you.

I just wanted to know where you guys were with things like promotion for it because I feel that the word should be getting out there.

Emily was supposed to be making the poster for the promotion for it wasn't she?

Have you decided on if you're having a title for the exhibition or you're going with a certain concept?

I thought it was for the beginning, end of year degree or something like that.

We changed our mind, but I think we sort of left it at first.

Degree show, I think it should be. Degree show, he keeps it less complicated. In terms of kind of Emily creating a poster, this is the information that she needs.

You need to know what's on the poster. So, you need to kind of get together. Give her a little brief. What needs to be on the poster, making sure that obviously you're informing people what it is, where it is, when it is.

You're putting a link somehow on the poster to maybe your social media site.

You are, so people couldn't donate if they want to.

Yeah, like you're being thorough that everything is going to be included on the poster.

It's important that you start promoting it now, because otherwise it's just too late.

We need to find out, because we've been told. This happens in collaborations and in live projects sometimes.

I'm just slightly concerned with Emily being off at the moment.

It might also possibly be the case that you can't wait for her to do a job role if she's off, if she's really sick.

Someone may have to jump in. It's really hard with a cognitive project because you still want to try to let everybody do something and you want to try to let everybody have a job role.

But it's realistically for whatever reason that job role is going to get done in time.

You may have to just take control of yourself. I'm waiting for her posthumously and just putting that out there.

Yeah, no, absolutely. I did help with posters, but if Jess wants to do it...

Oh, I don't mind if you want to do it. No, no, you can do it, but if you want, you've got to love it.

I'd rather not. I am very busy. So, if I just run through a list of things that I've got on my list that you need to be thinking about and then you guys get together and make your own lists referring to those points, that's probably the best thing to do because we'd probably get to a meeting and that's why that's important to do.

So, think about the posters, think about the physical posters and make a list of where you're going to put them in order to promote them.

Think about your online promotion, so where you're going to promote the digital image or whatever.

I think you were in charge of that, weren't you? So social media market over here, obviously doing all the things like hash tagging and have you got like an Instagram account you can go back to things like that.

So, make sure you've got that social presence or social media and online presence.

You need to start drawing up a mailing list as well.

If you said so, so if someone could think about creating a mailing list, ask the tutors as well if they've got any contacts that can give you a try to send it to everybody in the college.

That's a good idea. Yes. Yes definitely. Yes. But also, in terms of external people. Well, I've said I would it be worth inviting our potential universities that we're given?

Yes, absolutely. So, I think about that. My next point is making a list of any galleries, curators, institutions, museums, collectives, who you want to invite there.

Make a list of them and get in touch and you know promote your event and invite them, you know, you can make really nice invitation, as well as general, you're really kind of tailoring it and targeting it to the right people.

And George as well obviously, he's going to promote your event, they've got somebody in charge of marketing they can forward it to their email list so that you know one person that agrees to be on your mailing list will also have contacts that you can encourage them or can you promote this for us?

You know, to really get the word around it. And obviously, we can help with that. But the promotion, the promotion material in order to promote you, if we're going to use our contacts, we need the stuff to do it.

So just make sure you're getting on the design of that.

I don't know if you're creating a simple website or if Instagram is enough but sometimes it helps.

Just a very simple website just somewhere to house all of your work and maybe even in retrospect something to refer back to.

Obviously, you're doing the art foundry magazine, so are you going to use that during the exhibition?

I need to speak to everybody about that, about what's going on because yesterday Bruce was running around like a blue-eyed fly trying to sort the logistics between bridging the gap of communication between me and Pav.

Pav is so busy. He was talking about it. Yeah, it just got a bit messy for a minute. Well, you're using it as a kind of catalogue as well, aren't you?

It's promoting us as artists and our work so it's definitely a promotional part.

It will be there in your exhibition. Yeah, I just need to speak to the group about the outcome and pricing and things like that because there's two different ways that we can do it.

So that's great because that'll act as a catalogue.

That's what I plan to do anyway. Double act, isn't it? Which is fantastic. And then I'll have individual bits, bits to do with everybody's individual work that's displayed as well.

The other thing is to prepare for Matt's visit on the 1st of May.

So, individually, that means thinking about the work that you're planning to exhibit and also making up to you who are going to see the space on the 3rd.

So making sure you've kind of looked at the floor plan together, you've discussed the kind of the overall, you've started to kind of have that conversation about curating before he comes in so that you know he's got something to work with you on because he's got such valuable professional experience and it's really a really amazing opportunity for you guys you know to really use him to the best the best that you can really bring this together So make sure you're prepared for his visit and you've had a thought about it individually, but also as a group.

What sort of questions do you usually ask curator when he comes?

That's a really broad question to go ask me. No, because my brain's going, is it coming through?

Good question. No, because actually my brain's going... First of May. So, he's going to give a talk, but he's also going to stay and have individual chats with you, so have one-to-ones and a kind of a group grip that is obviously focused on developing this show, this external show.

So, he's going to work just with you. So, you'll have lots of opportunities to ask him any questions.

I don't know, maybe as your kind of thinking about the work that you want to display, that will bring up questions.

Once you start planning it out, then write those questions down.

If you have any, as you're planning it out. And save those questions to ask him. I can't answer that for you. You literally are very angry. What can I ask him? I think if we work with all being together and writing out a list, because once one person starts it will just start snowballing from us all.

But also, hopefully by the first of May you'll have plans, artwork, plans for what you want to install so it's going to be like, will I show three of these or do I show two of them?

Are I going to hand this, are I going to put it on the floor?

There will also just be lots of other practical messages on the cards.

I just want to get Friday out of the way at the moment.

Yeah, you don't need to know questions now. Yeah, I don't need to know questions now. You need to know questions before the first of May.

Yeah, just make sure you're planning for the first of May.

Yeah, like practical questions, but also kind of questions relating to your theme and how best to represent it.

And he will come up with ideas that you haven't thought of and that's the reason that he's coming in, isn't it?

Just to kind of throw those ideas at you and think oh yeah maybe I can consider that.

We need to lift the questions for Wednesday as well, don't we?

Yes. So, it's all the questions to ask George. We've all got time that we can just get on a team's call and speak between us all and get it done.

Just do it now. You can have a brainstorm after I've finished. Obviously, you're planning a private view so think about what that looks like and make sure that that is included on your poster.

Oh no, I'm not. Well, that's another story. Let's go. Return of the... ...Drift. I will not be leaving my work. How many have I been here? Surprise, surprise. We haven't fixed it. Yeah, I'm moving this. Yeah, I'm moving this. That was a painless cry. Don't risk it. It's not third time lucky. Oh God Marie, you've had some really bad luck. Do you see that? The whole lot's going print before I go home today.

Yeah, absolutely. But you're still a digger. That's all I think that will wrap me up. The other thing that you need to think about, which isn't immediate, but once you're sure about your work and how you're going to exhibit, you will need biographies unless that's what I'm going to do.

Artists statements, like a map of the exhibition.

That's what I plan to put it all into. When we walked into the Phoenix and they've got that only pick the leaflet, it's A3 folded and it's got a map of it where numbers where they are and what they are.

That's what I plan to do for our exhibition and then we've got the individual more in depth.

Which you pay for. Yeah, side of it. And then obviously your titles and flax, which should include your name, title of your work, the year, materials.

Yeah, and that's what I plan to make sure I cover under my sort of area.

And also, I don't forget business cards, so if any of you have got business cards make sure you've got them ready and printed and available.

Do I have to make them or would it be good for the project to just make a business card?

I just went on to come and the business cards are directly part of promotional materials assessment criteria as the professional engagement is.

So, you will directly get marked before it if you make your own.

For professional engagement you have to look at everybody else's and at least design your own.

You don't actually have to make them to pass your professional engagement.

So technically you could just all swap business cards.

Yeah, you better get going if you did. And then obviously it's fantastic for when you're there.

Yeah. Yeah. Photographer. And it. And you said you'd do it. That's covered. Yeah. And you can invite a writer or an art critic to come.

Can I email? Can I do a little review of your work? Websites and stuff about that, not websites, but art stuff.

Can I email people and say, look, we're having an exhibition?

It'd be great if you could get someone out to write about it.

That's what the press release was for. He's written the press release. So, look at me. Who is doing the press release? I have a poster to design. That's exactly the purpose of the press release which is why I was trying to get like it's fine but if you want to get a press release that's still worth it but you can only do local release and none of them live.

There would have to be like very local. I reached out to like seven different people and none of them replied.

Was the press release? Was the press release? Yeah, like definitely. Oh yeah, I said. Torbay, Acre Town, I reached out to none of them. Absolutely. I know, they love me on red as well. I'd send it again. Send it again, send it by email. Send it all the different ways. And there's loads of smaller magazines that you don't have, just try the radio stations.

The email in country living. And magazines like that. That's national things. That's like, I'm looking to do a show. So, they did a lot of sufficient exercise, like ten students.

Yeah, even bricks unturned at down there was like...

Oh god! That's because We don't have very much to show maybe.

Did you put images in the press release? I didn't know what kind of images to show. Maybe just write, revise your press release. We don't send it out again. I sent Jess some guides on press releases so maybe she can share that with Katie and then you can revise it.

If I were to, for me personally, if I were to start emailing all my contacts just around the local area and any industry and anything like that.

If I was to do that, I'd want to send an email ideally with some kind of image flyer.

Yeah, it needs images. Tag, something. Yeah. They're in like links to your website and they're on Instagram, they can find out more, you know, all of that.

But maybe you guys work together to revise it and then just try it again.

Now it's a bit closer to time as well. I can get the poster done pretty quickly, but I don't know what images to use for it at the moment.

Do not use that cheap a picture of all of us. I don't have any pictures to use for it. We've all sent off our portfolios now, we’ve all got digital copies of that.

I was going to say any very good images, either from your university portfolios or from your interdisciplinary, like from the modules that you've just done, will do for now, even if that artwork isn't going to be in the actual end of the exhibition, especially if it's still a relevant theme to what you're doing now.

And it might be just one image that encompasses the theme or something, or something that you might not have had a name for.

We might not be an image, or it might be kind of an abstract design that is.

But it's a good name, I have some ideas. Some of them are used. I mean, if you had a theme, you'd obviously have something to relate to the work.

When we've done posters and flyers and things like that in the past and we haven't created the artwork yet and when I did the cinema project in the past and we haven't created the artwork yet I just grabbed a really cool looking, weird abstract photo of CNN Space from last year and adopted it, photoshopped it a bit into looking great with a piece of text.

It was just almost kind of just making a great looking graphic really.

It wasn't necessarily accurate. Okay. So, you can definitely do a lot of these, like any good really nice images that they've got in there when they get to their portfolios and things like that.

I'll have to send a multiple courier. Yeah, if everyone can send me links with their portfolio, I can see.

Is that OK, everybody? I can just send you a message now. I'm just trying to do the work I've done. I feel like I've got my portfolio. I'm just going to check in my lovely doctor. Yeah, let's find them. Are you two, OK? Yeah. Is that your photo? In terms of planning the technical side, like actually hanging the show, just have that on the back burner because obviously you need to be sourcing the equipment that you need, you might need to be booking that out.

So, make sure that that is you know in your peripheral that you're you know you're going to do it in in good time.

Didn't you say we had glass or cups or something already from the college?

Somebody said we could have something. What's that? Sorry I'm trying to send this. Didn't you say we've really got something hired like we can have their glasses?

So, if my rising has said that they are more than happy to give us side plates for the evening.

So, we'll need glasses from somewhere? Well, I'm going to take on what Ella said and I'll go to the charity shop over the next few weeks and start picking up random glasses.

That's a good idea actually. What have you and then... You know you can borrow glasses from like Morrison's and stuff.

Oh yeah? Yeah, that's what I've done in the past. Really? I don't know you could do that? Yeah. From the cafe? From the actual supermarket. And I think other supermarkets do it as well, because I've used it in the past for my events.

You just need to deposit and then you can hire wine glasses.

They've got a massive stock of wine glasses. You just rent them out. I don't even know if they're not very expensive, if they are anything, but obviously you have to pay a deposit and pay for the ones you break.

But yeah, they have that as one of their services and I'm sure it's not just that supermarket, but that's the supermarket that I've used in the past.

Oh, I was looking into it. So yeah, and you know, in terms of borrowing stuff, just ask George what, make sure you get a good...

Yeah, that's what we need to find out. What he's got. So, we know what we need. I'll make sure I write a list and we're going to do the information side.

But you know, in terms of like practically hiding things, just make sure that somebody is in charge of making sure you've got access to all the tools that you need to someone's coming with a big tool bag.

That's my job. I'm sweet to be helping you. That drill is charged and all of the kind of practical things, paint and filler and all of that, making sure that is available and you know, levels.

Them in because it can only be 36 pages long this one.

Bruce is the only staff member that's given me something but I have asked Bruce to write something in correlation with this anyway being our personal tutor.

So, if anyone's happy to just keep it extended to Bruce and then it's all of us in here.

Sending it to Bruce? No. I'm not with it today. Extended to Bruce. So, if everyone's happy to pay the £11 and then I make a coffee without the barcode to sell at the exhibition or...

I'd say make **** coffee for the exhibition. Not **** Yeah, because the only other thing is the funding's got to come from somewhere with this and it's going to come from the external exhibition Which obviously that's the priority here Which I get that but we've got to focus on buying Raising enough for the space the installation So that's going to be our more prioritised though.

If we still, if everyone, this is what we need to ask if it's been paid for.

This is where, so what's been paid for out the funds that we've got for the college?

The space, that's it. So, what's left over from the fund? Awesome. So now we just need money for literally all the other...

But what's left in the fund? There's nothing. We don't get any of that. We need to buy some of the internet and let's mission.

Right, OK. That's all. We need to raise the money as a profit again. Yeah, that's fine. We need to spend it all on you, sir. So, if everyone's happy, if we cover the cost of the two extra copies that we need to send off for the National Archives, so it'll cost about just over 10 pound between us all at eight.

They just put up a letter. So, then we all have a published copy. I'll pay the 15 pound to pound for the barcode. I don't mind doing that at all. You may have the practice from what you're writing.

Yeah, but I'm covering it. So, this is our plan at the moment. We can just plan to cover it and then if we don't need it, we don't need it.

So, yeah. So, no, I'm happy to just deal with that. And then if we make cheaper copies through the college, so utiliser utilities through Kyle, basically, it just means we won't have a barcode set and not officially published versions to go alongside our exhibition basically.

I don't think that's right. Once you've got the barcode on it, if you then want to do another 20, the barcode will be on.

You just keep on general. But I can get it printed elsewhere. That's what I'm saying. Yeah, it's got a barcode on it. If You want another 20 up you pay for that? Yeah, but I'm saying we need to do it a cheaper, find it cheaper than that for us to...

You have to find cheaper than that, not possible.

Is this done through Kyle? Yeah. Alright, I've done this all the time. A little town people can do it, it's as cheap as you want it.

Well, it's Kyle, that's doing it. So, we're paying Kyle 11 pound for this. Okay that's fine. Question is, how many copies do we want to sell at the actual?

Well, this is, here's another thing. Like I said, I could do a paper copy. What we could always do. You know how they had at the Phoenix, like a more focused on our exhibition pieces rather than this.

We do print on demand. But they were an A4 sheet, weren't they? Yeah, they won't want to put their name down. They'll say we'll send it to you in a minute. Well, I was literally going to say that. That's actually a really good idea. We could put a scanner. It takes you to the website. But we'll just take a look. Maybe. Yeah. Yeah. Maybe we'd buy an extra copy then to use as a display purpose.

So, we just buy one more and then do the print on demand.

Put a sticker on saying display only. If you want to buy, please go to the barcode and then we'll put a thing on which has email address, their postcode so we can just send it straight out and print for it.

Literally and then we'll just send it straight to them.

I live two seconds away from a bloody spa so I can send them out myself if you need to.

Yeah, no, it's fine. We'll add printing costs into that so we'll charge what?

If it's 11 pounds, charge 16 pounds. Well, the print on demand it will just virtually pay for itself.

We wouldn't have to put any cost in that then if it's print on demand would it but it will get directly sent to them.

Yeah, but we have to pay for that. Yeah, we've got to pay for our postage. Oh, yeah, you asked the postage for her. Yeah, that's what I mean. But then they're going to like ours and don't like ours.

Yeah, but for the cause of... It's only going to be specific. I'm going to take Janice away. Anyone ask her questions, clearly? I'd like to put a little bit of information on how I can make my mannequin stand up.

She wanted to show her mannequin to Janice. A practical technician type thing. What's it, Michelle? They put me in 3D because it's smelly. I assume it's the thing that's covered in grey. Silver? We'll walk that way. Can we walk that way? Can we take the room away? Yes, go for the side. Thank you. I will be back very shortly to say about food for this Friday.

Do I have to go like that? Can you take that thing out? Yes, I'll take that. Thank you. We'll go and show that. Nice to meet you. Have a nice Easter. My head actually hurts. Do you have a portfolio? You're just going to send me a work. Does that make sense to you? What makes the most sense is to have one at the X of a chain.

Yeah, do that. Put on the website saying if you would like to buy, please go to this link.

Put a link on which will have their address, their name, excuse me, an email address or phone number in case we need to contact them about it.

And then obviously they'll pay what 15% is. My priority with the magazine is us all having a copy and us being published because I think it'll be really, really good for us all.

It's something we can take when we go to do our things.

I think that's really important and the bonus is it being displayed at the exhibition.

That way we want to pay more extra than everyone who actually wants to buy one doesn't have to feel pressured into buying one, that's what I mean.

And that way we don't have to pressure people into buying them because we've got like eight copies.

Yeah. Do you want me to... Yeah, no, no, I'm ha... Yeah, my... I didn't know whether you wanted it to be sold or not, so that wasn't my...

I don't care about it being sold. My thing is that all have been it and being published.

And if I'm being honest, personally, I think from the aspect of selling works, I'd say if everybody puts on their little, because we'll do like a little biography card or something, everyone puts on, if they want their work to be published if you'd like to purchase my work contact me yeah instead of putting like a price no I wouldn't do that yeah it's not really about that is it is about just saying I work yeah like if they really like it then you could be like yeah I think it just gives it a more professional look, doesn't it?

You said about put on the website; we don't have a website.

I'll make one. Oh right, okay. I said that to Susan, do we need one? But if you're happy to do it, fine. Me and Katie, you'll make one together. Okay. Are you going to do a full website or are you just going to do like a Wix blog?

I'll just do a Wix one. Because I knew how to do all the, if everyone sends me a little bit of work again, or if everyone just puts it on the group chat even.

I can send you the link to my portfolio and then if you want the actual images, higher res images, I can send them to you.

So, I can just check them on the website and then yeah.

Okay. Yeah. I'll write a bit of information about everybody and don't know what to write in a biography.

What do you write? This is something because that's Matt We were passing Matt that but we've got one every way so like You just say anything I don't know.

Maybe I don't know I think it’s more about what artists you are, what type of medium you use, what is your interests are, I guess.

Focused, light or muse or whatever to do, what's the themes within your work and messages that you sort of try and get out.

Yeah, okay. I'll have to think about what you're writing. Let's go over here. I'm sorry. I'll go with you as well. Are you sure it's a four? Where are the other spare copies going? The library and the National Archives? You have to do that, apparently. I just think it'll be really good to actually be public.

I think it's cool to say it as well. Well, it's like a selling point. No matter where you go now in the future, like you can say I'm a public artist.

It's not going to come close into that field of work, but it'll be cool to say.

But being saying that you're a public artist shows behind that you've got a skill set and that skill set is like you can coordinate and produce a project Meet a brief it shows all of that let it just puts a gold sticker on being like the unit journey do you know I mean I think so what does that make sense yeah I think so it's like a selling point like I'm a published artist so it's 11 so 12 so 11 pounds 20 or something so 12 pounds so It'll be about a load more than £131.00.

If we just do say £12.00 times £12.00, that's £144.00, divided by 9.00 is...

I can't do that. No, it's easy. Isn't there eight of us? Nine. Emily. Yeah, but there's four of us. There's four of us. Four are for illustration, including me in the illustration.

Oh, there's eight of us, so that's even better. Yeah. So, yeah, it's eleven. Yeah, but it just means it bruises when I copy it or not.

And then bruise pays eleven. That's fine. That's fine. That's fine. That sounds like, I feel tight saying that, unless we put any gift in one.

Yeah, they can buy their own if they want one. I don't think Bruce will care. No. It's 8 of us, isn't it? Yeah. So, 12 times 11 copies divided by 8. So, £16.50. Yeah. So, a bit of probably work out about £16 or £15 something because I don't know how much it is.

It's £11. Rather than taking away from our funders and budget, that was my proposal basically, like I'm happy to pay for my own.

I think That's fair enough though. Yeah. That's like our personal thing that we're going to take away from all this I suppose.

So, our biggest thing is the questions that we need to ask George on Wednesday.

We need that list so that we can... Should we just do that now? I'd rather do it now and get it out of the way. Well, I'm recording this anyway, so I can compile the list once it's done.

Yes, I will. I have to take stuff out a bit, sometimes you can't tell who's saying what, especially if people are talking over the top of each other.

So, I think the main thing is... I'll get started on that one for a moment. I'll see. It might be tomorrow night. The most important thing is the fixtures and fittings, like to hang stuff up.

So, what's available to use? What can we do? Can we hang? Can we... Is there any sort of materials that we're not allowed to use when it comes to installation.

Okay, so any materials we aren't allowed to use? Because that would be easier than asking what are we allowed to use?

Can we use blu-tac on the walls? No, we're more like nails. If we've got posters, we might want to. Yeah. Yeah. Yeah, for insulation, can we use nails, fixings and blue tack?

So, we already know they've got the movable walls.

I'll do a side question. If we do use those, do we have to come back and fill the scratch paint?

He's already asked. Really? Has he? Yeah, where's those questions that we asked Katie?

We've already asked them questions, haven't we? Oh, I didn't know that fast. You had asked questions earlier. No Katie, took a list. We wrote it on the group chat. No. I can't remember. I was using your **** this up now. We need to ask about the, does someone have to be on site at all times whilst it's open?

I have my plan. Stick a big **** rod up her. Is that how Janice said it? No. That did not sound like you were talking about your artwork.

Just call it my project. Have you written down what materials are available for us to use there?

I don't know what kind of things they keep. They've got moving walls and there are some plinths that are there, but we need to work out what everybody needs and what we need to sort.

If we need more filler and stuff like that, I've got some as well.

Yeah, we need more fuller paint. I can get that from work, so... I've got a brand-new tub of white silk at home, that I've not even checked, that picked up the kid’s bedrooms, but it's fine.

Well, what paint, what do we need to use to cover because it might be matte?

So, then they might not allow silk to go on it. What paints do you use? Do we need to ask him things like how do we collect keys Katey’s doing that Katey’s the key holder I'll wish he okay so that's sorted what else It's hard to know unless you see the space.

What you're going to need. Are we all able to get there for half three next Wednesday?

I just need to clarify. I'm not. Because I don't want a risk being like you. I'll just go earlier. I'll speak to Tamara. Because I think he's working later. How's everyone getting over there? Train. Get the train. I might have to bring my two with me. I might leave Jess at home. She might not let me. Is that return or? Oh really? Is that return or? No, just things. Oh really? I've just gone out. I've just gone out. Obviously, we're having a spend rate this Friday.

The only thing that needs pay to do is the food. But what I'm going to do is I'm going to go and buy it myself and then right and then invoice you.

And then when we've raised more money because I don't want to take anything from that at the moment because it's looking a little bit sad.

I've got £10 cash at home still on my side which was donated from neighbours.

We've got £11 in the tin there. I'm supposed to just pay out of mine and then give that to me but I haven't done it yet.

So, what we're at a hundred and seventy-one quid so far.

Are we? Are we keeping back to that money? On the paper, £11 from the thing the other night and then it was...

And Beauty Sir. ...And then it was... And Beauty Sir. ...And then it was... I've put a few, I've shared the link to a few places.

My mate Ozzy, he's a message me and he's like, is there any other way I can pay for this other than PayPal?

So, I was like I don't know let me check. Usually, you can use a credit card to pay with PayPal.

I don't know I think he's doing it. Or you have the square account on if you have the square wrap on your phone yeah but then that would go to your account yeah thanks transfer to you and then you can go to my bank and then me pay for it.

It goes into the thing. Well, that's what's going to have to happen with the £11 anyway.

Okay. Really, isn't it? Alright, but I'm going to try and keep the budget as low as possible for food.

I don't really want to spend no more than £100. You can see you need to just go to the home bargains, get some of them.

The issue is that I've not had a lot of the confirmation of who's coming and who's not yet.

I've, in my head, I've worked out that I think about 30 to 40 at the most to come in.

So, I'm going to think about feeding for 25 because not everybody is going to have and they're not.

They never do. You end up with waste. And I'm trying to work it out like packets of crackers the cheese is going to be the most expensive yeah cheese is expensive but you just go 299 blocks from middle, what have you with?

2.99? Yeah, this is what I mean. First, please. I don't have a book as card. I do, but I'll buy it for you. No, I don't. Well, yeah, in actual fact, she does pain for this, not me.

Thank you, Stuart. Yeah, I don't really know what the best things to get are.

Like I said, other than crackers, maybe some big bags with those fancy crisps.

Just honestly, far as you, I'm not cooking. No. Otherwise it's hot dogs and a barbecue, isn't it?

That's the only other thing you can do. So, they're like trying to have. Yeah. Just like that. It's just what I mean. It takes forever. Ha! Ha! Ha! This is it. If you just whip up a **** ton of like tuna mayo, just cut a bunch of cheese and get a packet of ham.

And what else do people have in sandwiches at home?

I always have cheese, egg, I suppose, sometimes.

Right, let me work out my time management here because that would be economically cheaper.

It would be the cheapest and the easiest thing to do.

Right, what have I got? Because I've got a company here tomorrow, I've got to move all of this.

See the way you're going to have to probably cook something.

Do you know what I mean? It's better to just have a sweatshirt for happy kids and make them like just sandwiches.

There'd be no buffet left, if I let my kids get involved in that, especially Archie.

Well, if I can get over early, then I can try and help you out with the making of the sandwiches.

That would be nice. Because I have, I've got, to come in here tomorrow I've got finished, putting all of this away a little bit, they can all come in here tonight to do my sketch work.

But I need to come back tomorrow to pick up my tool box, go to put my paintings in print.

And then Friday morning I'm meeting up with a shippy community group because we're going out to plant those bulbs.

A bunch of kids. So, I should be back, because that's ten. I can always piss off about twelve and be back playing for about one.

I've got to be at the rugby club for six to set up. So are you doing sandwiches before or are you doing it when you're trying to work out yeah, they won't be as fresh though the bread will go a bit yeah and I got to do it straight on don't have the room You could get some tubs of like egg mayonnaise.

That's expensive. That's true I suppose. You could always make your own. Unless you're just going to do ham, cheese and tuna.

---

Matt Burrows Group Curating Talk for our exhibition:

So, this is Positive Light Project as the space, yeah? It's such a great space. Because it's such like street windows, people can come in.

How many people, how many different individual people are showing in the space?

I'm still waiting for some people to give me some information about their display, or just general idea. I've got everyone here. There are three that I haven't got the information.

Yeah, memory, memory, just. Yeah, well, it's more just, well, yeah. Well, where are you? So, I'm sort of doing it now. You are the CEO of Meda Information now. I'm sort of prioritising their favour. Yeah. It's a really tough one. And it's really, this is really, really normal. Yeah. If I say my daughter, she was on the exhibition committee for last year and had exactly this kind of thing helping there.

And it can be frustrating, but the thing to take from it is that by doing this, you are learning some really good skills for doing it in the future and it's a real positive and you know people have different reasons why they struggle to get stuff on time or do things.

So yeah, making sure everybody who does engage gets what they want but also being generous.

Everyone's going to have a decent space of course.

It's big enough for us to all have that sort of good space between us.

It's more so from what they need as well. So, I know that Sam needs a projector so I've been waiting to still hear from others so I'm going to utilise that they've got a projector there.

And hearing that somebody else wants a projector the day before isn't helpful at all.

No, but I can accommodate for that and have that in my back pocket, but I'm going to utilize this space that they've already got a projector there and my mum lets you, yeah, well, yeah exactly, I don't want to be questioning whether we're going to be using it or not or I'd rather accommodate for that now and then know that I need to potentially accommodate for another project but have to be prepared for that.

Likewise, they've got to accept people who haven't been able to get info and can have to accept one.

Yeah, oh yeah, that's that. I guess in the job that I do, sometimes I'm working really closely with an artist about what you want, you know, what about this?

Would it be alright if we do this? And other times, like with the contemporary open, it just arrives and it's...

In that situation, I've never even seen or met them before.

I've never seen the work before other than I've seen photos.

So, I've got kind of quite a good idea and I've maybe had a bit of a think about, oh maybe we'll put that in there and we're going to need a screen and stuff.

But it's amazing how often things come and it's just, even when you've got the measurements, it sort of arrives, it's like, oh my god, it's 20 years.

It's massive. I kind of somehow imagine from the photo something else or something different and you just have to deal with that and I also sort of then have to go, I wonder if they'll, I like, as you can see, I might have been playful.

And it's like, oh, I wonder if they'd mind if I did this with it.

Or if I didn't hang it on the wall, but I put it on something else or did something else.

And there's a bit of negotiating to do really. It's a bit of a lesson that I know what I'm doing and the reason I'm doing this is because it will look great because of something else.

So, that's the front, yeah? Yeah, that's the window, So I've sort of put pictures sort of around that area as well.

What are these squares? They're the pillars on the inside. Got you, so yeah, so everything's around there. OK. And this is the back bit with all of you, the projector, and the roof here.

This back wall was a movable wall in front, so we can either take this wall away and you have that opened again into it or keep that wall there and use that as storage for us.

Because They said it was a friend of mine, we went there and said it was the projector.

It's this distance, but it's really well on that screen.

It says about two, we should probably, where they are, just for the fact that we could still do it.

The orange one will flip. It can flip the colour around, but we should probably just keep them where they are.

So, they're made to be interesting. Oh, thank you. Cheers. One of my questions with that is, depending what the projector is, whether you get a good enough image in the kind of light conditions, but obviously they've already done that.

Yeah, they used to set that up in a prime spot before, so that's why I said about utilising that.

Yeah, yeah, work to the... Yeah, exactly. And what is the... What's the nature of the projection? I'm going to have a short film display. And what kind of imagery is it? Animated, is it? No, it's real life. Right. It might be animated a little bit. Yeah, I don't reckon I'll get that done by this point.

Okay. And, of, what's happening in the film? Picture it to me. Not the whole thing. Just like really, really, like, one and one thing.

What's it? What? So, it involves like.

Walking things, start to help you think about everything else.

So, in a way that's great. It's like, OK, we know that there's going to be that film.

Do you want to put it here? It's going to be in that position. No, I'm fine. Great. OK, so what's... Like, you wouldn't necessarily have another sparingly noisy piece right next to it, because that's what we get in the way of that.

So, how's yours got volume? Yeah. You've got music and stuff. So that already tells you a few things about how you might lay out the show.

You've got this moving thing; it's got some sounds.

We do need to think, because we're going to have music, won't we, for the opening night at last.

Yeah, but I genuinely think there's no need to make it like a pop playlist or anything, just have like sort of like a slow classical but like no relaxing music.

Yeah, but like lightly in the background we don't even use.

Like acoustic music you get the like Vietnamese chill like nails and all you know what I mean, which is in the background and even barely here.

So, it won't impact that at all, then? Yeah, just a private view. It's that way, it's like, keep people concentrating on the art, and they're not like, what's that, technically?

It's not deathly silent in our eyes. Yeah, it’s just to create... ...Atmosphere. Oh, my God! That is true. I think for you to bear in mind that having worked with sound in a group show, there's always a kind of element of like if it was your own solo show, you could set it up exactly how you want it and you could have speakers everywhere and you could be really nerdy about the audio and things.

But in a group show there's always a sense where your work is spinning into their work and their work is spinning into yours.

And then a private view is like that on steroids. So, you have to think about the main exhibition and what it's like and then for the private view it's going to be busy, people are going to be talking so it might be that the audio isn't at its peak at that moment but then the next day when people are coming in having a proper look, they get the proper experience.

And you were saying there might be other elements that he wants to talk to you about later.

Yeah, I think that's what I'm trying to say. Are there like elements installation-wise that might, are you all right?

But that might be really complementary to his work.

Sorry. If it's about confidence and like putting himself a bit more out there, like spilling out into other people's work.

He's a bit more like, well, I'm putting my stamp out a little bit further.

Like, I'm over here, come see me, go on and things.

He probably could really work well with his exhibition.

Tag the whole gallery with little bits of work. And so, what else? Do you want to just quickly give me the site similarly, just a bullet points of what each of you are expecting to have?

Yeah, I've got patterns basically that I've designed.

So, I want to, we decided this morning, you know, the idea of printing it onto fabric and then draping it over the wall.

So, we need to figure out how to put it on a pole or hang it from the ceiling.

Great. And some prints as well. Sculpture. Yeah. And what else? Oh, just some other pictures and things. Really. That's never seen in work. Some prints as well. Yeah. I've just smothered pictures and things really.

I was going to show him later rather than like, I can agree.

That's fine I was just trying to get it kind of so by the time I've gone around the circle just in terms of this, have a sense of okay, these are the kind of things.

So, it's going to be, is it all kind of pattern based?

I'm doing a book as well so there'll be some scenes from the children's book as well.

Right. Because I'm more illustration. Yeah. Me? Yeah. I've got two pieces. I've got one. I'll just show you. The image might be easier. No, tell me. I'll see an image in a minute. It's clothing. Clothing as sculpture? It's called to see the able, not the label. It's all about disability and inclusivity. So, it's different outfits that explore a different disability and contrast into what society thinks they're not able to do.

So, there's photographs to go along with it as well and some items and then I've got another piece that's called Lines of silence and it's exploring communication through lines so it's an animation of line art with doing Makaton and some wide hands to hang with it.

And the animation is going to be on a screen? Yeah TV. Yeah. I'm doing three paintings. Right. Large paintings, Grinnell. Figurative, large figurative paintings, cool.

I've got photography and latex masks. Good. Okay. And then the people that are missing. Marie's going to do her canvases. I know that she's about 100% sure exactly what she's doing, but she's definitely doing...

It'll be on a large scale, Marie, definitely. I was going to say, it will take up at least 30% of the place.

Do you think that her vision is to hang it from the ceiling?

I couldn't tell you that. She'll probably come during the day and I'll grade her.

Pretty sure she said she wanted to hang it from the ceiling when we were there.

She wanted to change her mind. She wanted to change her mind. The ceiling here is all but she didn't. She might change her mind. She sort of, I think she needs to be in the space to sort of decide there and she's pretty much there and then, oh let's do this, no, Let's do this.

Is it the sort of thing that can be site-specific, so it could be arranged differently?

It's human. It's a huge canvas. It's like the size of these two tables. And it's like as tall as the tall in you. So, it's kind of like a mass. But she's got enough of one that size as well, that she did last year, that I think she's thinking of displaying as well so I don't know exactly which.

I see them more as sculptures though because they, I mean they could just be cropped up on the wall.

Or if you have two of them you could go back and hang them in the middle, as open space, because there's not going to be a lot of wall space, because I need wall space, Kenny's wall space, Sammy's wall space, I must say.

I think potentially everybody needs wall space in hindsight.

So, her might be best if we just hang it in the middle of the space, not in the middle.

It comes kind of all in its own right, or... Because it's a huge space, and I think it's a bit more...

I just need to get more details of exactly what she's exhibiting.

But it's a bit difficult because she's not been in this space.

And then we've got two other animation students that are going to be hopefully presenting an animation.

So seriously, like we don't know what you need to know, what kit they want to know.

And have they, have PLP got screens you can use tomorrow?

Or are you bringing everything yourself? Is that one of the questions we did not ask or... They've got one projector, I know that, but we can...

I'm sure they said that it's pretty good to project pretty much most places in there.

All this, we can sort of use the politicians to make a dark space, that We can manipulate the space to make it accommodating to projections.

Because obviously they've got this meeting area here, where we could essentially utilize that as well, because it's just the chairs.

So, we could fabric. We can manipulate the space, can't we? Because projected images are beautiful ways of looking at stuff, but the conditions have to be all right and there's a point at which you get a much better image on a flat screen if there's too much daylight or if the equipment's not very good.

And then that's the kind of call that's a bit hard for you to take on somebody else's path.

But then I need to know... I did ask them, I put another message out yesterday asking them if they were going to send me a basic Emily message from me.

I was going to say that. But the communication's been a bit difficult. Do you have any advice in terms of how they can kind of bring it together.

Like you've got lots of experience working with people.

Yeah, yeah. I mean... Or like practical kind of steps. Is there a sense that you might get nothing at all?

Is that a real possibility or is that very unlikely?

I think from any day, everyone will have something, even if it's work that they've already previously done.

Do you have that already, like a backup work? I don't know what they would choose, because they're not here to...

So, I guess it's just about maybe making sure that there's a good potential for the place where that work can be, that if nothing happens at all It's not going to blow a hole in the exhibition.

It's just going to be, there's not so much going on over there.

It's the best you can do on that. But also, obviously, it's a huge difference. If you've got, if you know that there's like a flat screen and something to play a file on that's available then that's great because I can see this flexibility of going at the very least getting the memories That's what I'm going to do my animation on another one then or a projector or just something yeah but we're going to see what We have equipment that we can borrow from the village.

We need to double check exactly what they have. Yeah, it’s worth asking because they probably have something there.

They said that we have access to what they've got there anyway, so...

Yeah, there's no exhibitions on here as well, so it got access to both places.

Yeah, so it's definitely in our favour to utilise both.

And always thinking about what you're going to actually play the file on as well, like whether you've got a media player.

Mine's already in, yeah. Yeah, but have you got, does that, like, so some screens, you can just plug that straight in and it'll play, but other screens you'll need, like a media player or something.

So that's something to think about. One thing that's on my head is we were going to do, like, like what we saw at the Phoenix, you had a like a pamphlet almost with the exhibition and what's on where.

Yeah, I'm going to do that. Obviously, we want to do that but is that something that we can just put the bones in at the very last second if no one has sent work?

Yeah, then print it. Yeah, that's it. This is me last week. Make a draft and then the very last thing you do when you've made the final decision is you might, you can, you can, don't wait, don't do nothing until the last minute.

So, all the information's in there and it'll be a case of me just moving numbers around about.

I'm just worried we're not going to get pictures of people's work before the exhibition.

It won't necessarily be pictures, it's just a text.

You don't get any pictures. Yeah, that's, I'm following suit from the leaflet that I got from the last contemporary.

Is that the paper one that you have? Yeah, so that's what I plan to do for our exhibition.

Something similar. So, it's just got the information. We did a book as well. There was a book which had a colour photo of the work and a little bit about the artist and that was put together in advance, the show so it was off to work.

But that's what I was aiming to do with the magazine.

Yeah, yeah, often more sort of generic info, whereas on the paper the key stuff is the artist's name, the title of the work and what it is, maybe a little bit of blurb about it and depending if you're going to have all labels or whether that's going to be your map for navigating show a really clear way to go oh this is your work and this is your work.

Social media handles. That will be the last minute though. The number of times I've done an exhibition it's all been printing out the titles and cutting it like that.

Yeah, yeah, absolutely. That is the last. Even with the map. It's the last frantic work. The show we just opened, Grant's got 20 paintings in it, and we didn't know where they were going to go, but in the middle of the week, while he was making those decisions, and they were taking care of some technical stuff.

I was just putting all of that info into a Word document so that, regardless, so that all I had to do was shuffle the order rather than start from scratch at the very last minute in a panic.

So, if you've got as much information as you can get it'll also tell you the gaps like where what you haven't got not at the very last minute as well as so I haven't got such and such as info or haven't got their social media tab or whatever it is.

If you steal a march on getting that done, you'll then see what gaps are and the last thing you want to do is adding that to the list of things to do at the moment.

No, definitely not. Okay, that sounds really interesting. So, there's loads of references to bodies and people, whether that's like literally film or view or masks or paintings or animations.

That's one of the things that seems to be running through it all.

And then there'll be things which aren't, which are counterpointing that, but maybe finding thinking about other ways that that still relates, because everything will relate to people in some way or another, but you know more literal and less literal.

In my head, I've got... ...Where the work's going to go in my head. Obviously, it doesn't have to. But I've got Sam's projector for the room. But Sam's projection in the space where it's packed, along that actual wall I've got mine and Katie's and then in the window yours because it all fluttered because obviously mine and Katie's didn't have to go one way or the other way, but on that wall, I was just thinking, do that app because that way it's all like people and then you've got other stuff on the other side as well.

But obviously it's a great way. I need to hear from Jess and Emile. Yeah. That's the thing, because we know yours is hanging, so you...

It can go anywhere really, yeah. I don't need a projector on it. I don't need a projector on it. The space in between where Marie, Marie would probably benefit from having more floor space in the middle I'm happy if she's going to be it's I need to hear I need to speak to Jess and Emily.

Maybe Matt can do some more tools and get to know what the core themes are in your work.

And then he might have some advice to find it out. We can maybe come back together and Ian can have a quick recap on that.

Because I think that's as well important as it's to understand the themes in your work and I think that would be helpful.

That's alright. And then just the main bit of overarching is to think of, like, think of the show, find some space to think of the whole show as one thing and you know what it might be like to walk through the door as a person to experience it and like how does it all come together so as you walk in what sort of what are you seeing this kind of variety?

I talked to the beginning about this sort of, I was specifically talking about the way things are on the wall, but the whole space, like does it feel like it, like if you have all of the stuff to do with the body over there, and then some stuff that isn't over there, It might feel like a weird show of two halves, whereas if it's a theme that pops up in a rhythm around the space or through the space, then maybe that feels a bit more like the whole thing has a kind of poetry running through it.

I mean, that sounds a bit convoluted because a lot of this can be really practical.

But it's worth thinking about those things and as you walk in, do you see something past something else, particularly if there's something in the middle of the room, does that kind of create a sort of way that you navigate either this way or that way around the space.

And then that means you're coming across things in this different, in this particular route or rather.

Yeah, mapping the audience path is really, really interesting to think about how your show's going to be read in terms of guiding people through it.

If you're going to use those moveable walls, how are you going to create certain paths or ways around, or you don't want them to become obstructions in this very nice open space.

Or to be something that people could accidentally not see.

Yeah, they've gone round around the back and they're on those there or something like that.

So, you want it to feel like a natural, natural route.

It's a lot to take on, but it's just bearing you. It's like a lot of things. You're just considering those things. Always have like a, just step back and have a think.

And, okay. And Harry, you might take a photo to capture the show.

And it's often lovely to sort of see one thing past another thing.

You know, it's like, they're totally unrelated.

We must have talked about this at the contemporary open.

These artists, the work has nothing ostensibly to do with each other, but by putting them in a space together they start having a conversation.

Yeah, because we came to you at the end of that wheel of conversation.

I mean, I don't know, do you remember? I should talk to you later. The question is, do you know? No, it's great. And sometimes it's really banal. It's like they're both pink. But other times it's just like, oh my God, now I'm thinking of this, you know, because of that, it's making me think of this.

Like it's a mother and her child and you have a bear and a baby.

Yeah, and it just clocks up these lovely things and you can't...

It's just about having the ability to just have a little think about how, you know, these two things really work together or in the space, it's just nice to think about it.

And that's my job to do that, obviously. And it is, you know, you're putting yourself in a hard position as well, because you've got a strict install time.

Yeah. You kind of have to, you're forced to make decisions that might enough to be changed which are in the space, do you know what I mean?

Because the amount of time you're in the space with all the work and you're playing, like you were saying, it's a playful creative process.

So, you know, you know. When you build that time in, which, yeah, you're right, Kati, you probably will have a limited amount of that.

But maybe the point to take from that is don't be afraid if you've got the time to go, you know what, actually, we've all the way along, we've said that this is going here, but you know what, it might be grey over there.

Are there enough people to pick it up and move it over there just to have a quick look and see, giving yourself a little bit of space like that?

Yeah, we've got two light days for the install so then we can see the work in the space and see.

It's obviously theorising it all, it's very different to actually being in some space I'll know we were right in the first place but I'm really now I know that we were right whereas before I wasn't quite sure you know even that Do you have any advice for them in terms of managing the time because I think they're like for me two days you don't have two days because you've got to organize your private view for the evening.

So, for me that is quite a limited time to build a group show and it will fly by.

So, in terms of like managing that time, do you have any advice that they could kind of, what would you see that they would ideally want to have done by the first day?

Okay, I would say by the first day it'd be great if you're pretty sure where everything's going and what needs to be done on the second day rather than still be looking to make decisions on the second day before you even, you know, and then go, oh god now we have enough time because at least that gives you the night to think about it, go to the range and get something, you know, do whatever it is, do the thing you need to do, go to Wilko, because you realise that what you need is some hooks that will do the actual for you or something like that.

Make lists is really good and think about working backwards from the opening like.

So, you know, as part of that, so you don't forget the sort of small things about being ready to open photocopying, you know.

If you remember that you've got to photocopy a bit of paper, that tells you something about when that's got to be done, because you can't photocopy until it's done.

And you've got not leaving time to do that at some five o'clock on the day.

And if you can delegate, delegate, I think you know if you guys can all pull together and just accept that some people won't be able to put in as much as other people and not let that eat you up because it just did that's the way the world is and like I say You will get all the benefit of our experience because yeah, because that you'll be in this position again Ideally again and again and each time you're building up skills and you're learning about that stuff and you're learning to negotiate and you're learning to...

And just see it as a positive and try and be as generous as you can.

Because it's really easy to... You know we all did it in my degree show 30 something years ago.

You know, it's all a bit like, oh, they've got all this space, and I want that space.

It's really easy to let it come and gobble you up, and it's all wasted energy, because five minutes later, you've finished.

And that isn't the thing that was important at all.

Yeah. Making the most of it. And it's the same as well as this place, you know, you're already making the most of what's already there.

The stuff that's there, you know, don't make your life too difficult if there's a plinth there.

Yeah, we've got, I think there's four plinths available.

You know, it would be easy to go, oh, it's not quite the right height, you know, I need something, and at the end of the day, you've got to prioritise what's important.

Yeah. Yeah, definitely. And go, you know, go with us there. I'll probably think of something else in the meantime.

Yeah, but we can maybe crank that. Yeah, time to race around. Yeah, yeah, it'd be really nice, obviously, to do that.

So where do you want me to start?

I hope that was something you were used to. But having all done that, was there anything that's going to come out of that from what we were talking about when we first started about the actual exhibition that might be, that's changed?

Or that you thought I wish I'd asked him that a minute ago?

I'm a bit apprehensive about the money in the window now.

Oh no! I thought you said... Ha, I plan to ruin everything. No, I think it's great in the window. I just wanted you to make sure that it wasn't all looking out onto the street with your back to everybody else's work.

I do need to sort of reconfigure mine so it's a little more complete.

I don't think it's a huge job either but I just think when you're in the space don't forget to make sure that because it's great that there's a lovely there's a thing that's kind of You know the animation will be moving and it's a thing that passes by Might see and kind of go out this interesting.

What's going on in there come through the door but once they're in the space you don't want them to you want this to still be able to get more from your work.

And I asked you though because you actually explained that there are things that are doing that's just...

It might be something that you want to test out in a different way.

Do you have done that already in a shop kind of point of date?

With the animation one, that was sort of how my hands decided for me.

Because of the limitation of space. So it was, do you know, the squeeze box, they had a residency space in Pater, which was a normal shop.

Yeah, we were talking about that, and so it was like three people.

Yeah, there were three of us from here that did the painting one.

I guess the only way, other way, just to, and I don't know because this might not be how it works for your work, because without knowing it really well, is don't necessarily be tied to all of your work having to be bunched together in this place.

Like you could have, you could take a bit of that, like the handbag of things, and that could be a thing in its own right on the other side of the exhibition, in a place that feels right, and people will know it's you because it's the map.

It doesn't have to be like this is your bit and this is your bit and this is your bit and this is your bit.

You could think, if it makes sense, you could not worry about some stuff bleeding out.

There's a logistical sense in kind of going, here's all my life in this area over here.

But you could be playful as well, I think, and I don't think that.

You could take one of those masks, could be somewhere else, and it's like, oh, God, hold on, I see them in that room.

There, there it's over here. Yeah. Yeah. I could just put that. I was just thinking, because I think, there's the feedback from Shelly, who runs Squeezebox, or part of Squeezebox that it was really engaging from the past as far as you know, kind of attracted them into the show.

But then once they're in the show, like you said, it's quite sad that they would see the back of the TV as part of their overall exhibition experience so like how can you kind of get...

There's no way we can get two TVs in the room. I did think that but then we get even two good ones.

Maybe you should have like an invitation in the window so you can have a chair so that people inside the exhibition can still sit down and watch you and then walk from the outside.

You see people sitting and watching the... So, the video doesn't have to be pushed out of the glass, it could be pulled back and it could be part of your real...

That's why I tried to... When it was displayed in painting, we were very limited and that's what they decided it to be part of.

That's a really good point. And then you still see it from the street but also, you're inviting people to walk around.

Maybe there's something else's position to make you feel like it's all right to do that, to be in between the window and the table.

Yeah, because I don't plan to have my other pieces pushed against the windows.

It was far back enough that you could interact with that.

And then with the images on the side which and where it works and obviously then you could weave in, come on have a look, read about it.

Then you don't need to worry at all. I think I was seeing those photos and thinking you're just going to replicate that right up against the window.

No. Sorry that I didn't explain that. No, no, it's fine. And it might be you decide that actually you do want to do that, but it's good to have, to realize, to be thinking, it might be like that, it might not be.

Yeah, it’s good for you to think about the outside and the inside.

Because we're not choosing that. Because I'm saying, you know, P.E.L.P. Is a brilliant space. One of the things of the Phoenix, I showed that photo, you know it, but I showed that photo at the beginning, it's like up there on top of the hill, it's quite an austere old fashioned looking building.

You have to go up the steps and through the grand doors.

It's not exactly going, everybody's welcome, come on in.

Well, and people once they go in, they can see that that's who we are.

But we actually don't present that. Whereas something about a high street shop retail locations completely different people is so used to looking through windows and walking into shops and you present art in that its really lovely amazing stuff happens people who people feel right about engaging yet in a way that they wouldn't.

So that's great. It's like you say, if something particularly something catches your attention as you're doing it, it draws you in as well.

Okay, kind of go then. Yeah, don't panic please. I don't think it's good yet just to get you to think about it.

Yeah, because I hadn't really thought about that.

And with your people that aren't here, you know, be interested to have a prod of them and kind of go They might only be spaced for one of your pieces, you know, which one you prefer.

And even if that's only half true, those are the kind of conversations that I'd be encouraging people to have anyway.

Yeah. You know, what is, just because you've got it doesn't mean it has to go in or actually some sort of critical decision making.

Obviously, that's easy for me to say, for you to say.

I'm really fascinated to see how that all comes together.

If I can't make it to the preview, I'd need to double check my diary.

I would actually come to the show directly. You've emailed over? I've emailed you the private view. Yeah, yeah, yeah. I've got the details. I'm pretty sure I can. I'd like to pick up on my diary. Do you have anywhere to put post-operates? Oh, I've got one. I've got a couple. Do you have anywhere to put post-operates? No. I mean, it's exciting because it's only... It's a funny...it's a tough... I don't think you're going to be, you know, primarily concerned with the whole thing.

But it's really important to think about the whole thing and that people come away from it and kind of go, that was a great exhibition.

There's all this different stuff going on. Yeah. Well, that's one of the exciting things about it, because there's not a lot of them, that they've got a whole venue to kind of organize and work for themselves.

Whereas we used to go to New Designers, and New Designers, the lecturers in Morales did it all.

They came in with it. It was a big show and so forth. But then there were a couple of cocky ten court, but this is actually a venue that they've got some control over and input.

This is by my, it's not the first, but this is like one of hopefully many, many future ones and so it's kind of really, you know, every time you do it, and I find, I'm still doing this every time I put an exhibition on, there's like a new thing that you're adding to the arsenal of ideas and ways of doing things and materials that you can use and ways that audience, you know, I've been working in the same venues, literally the same spaces and thinking of ways to make them feel different or to give people a slightly different experience with visitors and that's going to be the same in terms of your work.

This is definitely a first set; I would say for everybody having a lot more control over the space that we've got and having to think about other works.

When we work here, we do have sort of a bit of control of where we put our work and how we sort of display it but we're very limited as well.

Everywhere is going to have its own parameters, but this is a space that can just be for your gallery.

It's not trying to be three other things at the same time.

For that moment, period, it's your exhibition. That's brilliant. I totally get that, you know, trying to be shared space with something that's also in the human.

Take a moment, we've done exhibitions here, it's not fully in our control, it's well good obviously.

We've got the treatment, yeah, have a big influence of how it looks, where it goes.

It's a little bit like how people don't have to work with people.

And I'm guessing there's a kind of slightly heavy-handed health and safety thing going on as well.

Yeah, there's a lot of contributing factors to where we are limited in our control, I would say.

Whereas this, we've never sort of, we've never. And that's not where everywhere has got its own reading.

Everywhere has its own thing. Yeah. I work really closely with Lara, who's the curator at the museum next door.

And that kind of institution has a whole raft of things that I never have to worry about because they're so kind of public facing and council funded and it's an institution with all of these kind of departments and you know some whole departments in charge of what they say about it and someone else is in charge of how the visitors interact with it and somebody else's health and safety.

I take most of those things on and we can be quite life-footed and flexible about those things in a way they can't.

And yet they've got resources and things that we haven't got and they've got a whole learning programme that we haven't got.

And PLP is different again and here is different again.

They're all just, everyone's different. It's like learning different organisations, isn't it, Which I guess you kind of get that in the arts world, regardless of where you go.

All the way through. People wanting to take control of your work or give you control of your work, you know, on a spectrum.

You know, I happen to curate in a way where I'm concerned with helping artists to achieve what they want to do.

But I know because I get the talk to the artists I'm working with about other experiences, that other places, they're practically kind of shut out of that process and the organisation or the curator has their own very clear vision of what they want to do and they don't really want the artist messing around with that.

And that's fine too, it's just different. But there's nothing like getting this experience that you guys are getting because you know particularly in the times that we're living in where moneys tied up and then DIY is the way forward to and that's how you move forward just to organising yourself and building up from the bottom, having those skills and that confidence and experience.

Yeah. That's only like a good place to finish, isn't it?

Yeah. Fantastic. Thank you so much. Thank you. Yeah, thank you. Looking forward to seeing it. Look, I say, everybody comes together. It will. I'm hoping it's everything. It totally will. And it might not be exactly what you thought it was going to be, but it will still come together and be a thing.

And if it's work in progress, that's fine too. It's fine to say, you know, in fact, yeah, to have, like, you can, however, piece of work, brackets, work in progress, if you feel the need to communicate that to someone that has got further to go on its journey.

You said that you were setting the fighting New Yorkers part of that journey, right?

Yeah. As I follow the part of the other part. The piece I showed by Natasha McVoy, which was in the windows with the pink shapes that were casting the theme, so that was called...

Can't be called, please be seated, I think. Brackets, proposing for a stained-glass window.

So, it was just, you know, to look at it, if you still haven't looked at it, it's just lighting gel stuck onto the windows.

But that title said everything you need to know. If we've had all the money in the world, she would like to make a stained-glass window that did that thing.

And so, it's like, it's just that phrase, say something about the ambition of the work, and you can imagine, oh yeah, imagine that.

It's really, absolutely. Like permanently installed, or somewhere, anyway.

And it gives the audience a different way to then be like, well, I'm not going to be like, I want that, so the commission has to do that piece for them.

Absolutely. It's exactly what she said. She said, this is my opportunity to say to the world, like the world, the bit of the world that commissions our work, I want to make this a stained-glass window and by doing that somebody might go, you know that thing, can we do that thing please?

We've got a stain, a Terry Frost stain glass window that's falling apart a bit in our cafe and so there was this kind of sense of like these two things that have a conversation wouldn't it be great if we had some money to commission?

Yeah. Somebody else you know? Yeah. What a great project. It's a structure and then you know something that has to be part of the building.

There's a funny one, they commissioned one in the box, in the church bit of the box in Plymouth.

It's beautiful, come under the artist's name, but it's quite a thing to have in a gallery.

And I think sometimes they have to build a kind of cover to cover it up because it's too present.

It's quite a strange thing to do in a gallery's place, I thought.

And that's what they did. But it's a church, so it kind of makes sense as well.

But yeah, it's a lovely way of rethinking what I'm all about.

Yeah. Fab. It's really important. Thank you. Yes, Thank you. Thanks for inviting me.

---

Last meeting 8th May:

So, second year's, what I will do is I am going to put some checklist bits in teams, professional engagement, so that it's there and you can look back on it when you're ready.

But if you've got a more pressing deadline in the meantime, just put it away, square it away, don’t worry about it, don't pass it now and look back at it at the time.

I'm aware that most people have now done a client pitch.

I'm also aware that most people haven't dealt with the final kind of presentation yet, but the final presentation is very, very, very quick and simple.

So, we will all do the final presentation together on the deadline week, on the week of the 20th, the week of the 20th of May, and I will put one or two examples in teams of what other people's final presentations looked like.

Six to eight slides, mostly just images, not too much text, summarizing the projects that you've been involved in through our professional engagement.

But it's going to be quite a lot of, I'll start uploading it in a bit, it’s going to be quite a lot of information.

So, if you're in finished Bruce's essay mode, don't even look at it.

Just square it away and scroll back and look at it later when you actually need it.

So that you're only panicking about one thing at a time, close instead of long first.

Thank you. Yeah, OK. Any questions about the animation, the picture, anything?

I haven't got a picture, I don't think. OK. It's hard. So, what we're thinking Partly, but also the actual exhibition itself when you meet George in the space, when you get to the space.

So, kind of like a repeat of the map sort of thing. So, what you could do is put together a bit of a mood board, kind of like the overall plan, kind of.

But if you kind of put together a bit of a mood board that you can literally physically take with you to the space when you start putting the exhibition up, which is here's the blueprint, here's the space that I think I'm going to be exhibiting and that I've been allocated.

Here are images or information about my artwork and then these are the various different ways, maybe two or three options.

Yeah, very cool, several ways. Yeah, these are the various different ways that I'm looking at actually presenting and putting up this artwork.

So just pitch it to him. And then you literally pitch it to him when you get there on the first day to put it up.

And just record any feedback that you get. So just make a plan to show him. Yeah, yeah, and put together a mood board. That is going to be the quickest and easiest way to do it, definitely.

Great. Okay. That's all that out there. Thank you. Fantastic. Is there anyone else stuck for a pitch? So, everyone else got something? I don't even know. I've done loads of mini pitches. You've done lots actually, little, yeah. Because you've, where you've spoken before about kind of sending stuff away for your business and stuff and you’re branding and things like that.

So, you've kind of got quite a lot of points where you said we would like this and we would like it to look like this.

You've kind of got quite a lot of that really. I did a whole like brand pitch to my Etsy people so I'll just do that.

Yeah, absolutely fine. Great. Perfect. Thank you. Good. Good, good. You can go now if you want. Can I come and get the camera? Not you, I meant her. I was telling you to go. You can go now. I'll just be twice as worried about them. They'll call me the evening; they'll literally make sure I'm right.

We need to establish a job role list for the evening.

So, if we roll off job roles within the open evening then we can allocate them basically.

So, we've got curator. What about, what else? Dressing up drinks. Is someone going to greet people at the door? And serve in drinks? I'll be at the door. You can't just ignore the people that don't know Sam, you have to actually say hello.

Greetings. Okay. What else? Is someone going to do a speech or...? We need to speak about that. We are going to welcome everyone within a speech.

Katie is expertise is curating and she is happy to do that.

Someone needs to welcome everyone into the space, explain what it is, what we're doing, who we are.

I'll do that. I don't want to be. I don't know what to do. So, what should we say, a welcome speech? A welcome speech. Maybe if we get Katie to do it. Well, ask her. I don't mind greeting people at the door. I think one of us could do a speech. Yeah. I don't mind doing the speech. I don't think she'll mind. If everyone would rather not. Let's give it to them. We'll see what we've got. I don't think it's your mind. I don't know who's going to be best, because you want it to be...

I don't know if it depends if you want it to be like a...

This is what we've done, or like a look at what they've done.

Do you know what I mean? Yeah. Like it's two different things and it gives a whole different perspective on what it is.

And if Katie's curating and I think it will keep it quite consistent.

Yeah. Yeah. No, that makes sense then. So, I'll put Katie with question marks, obviously we've got answers.

Put Katie teacher, just. Just in case we fix it. Just in case Katie's like that. Katie's like that. I don't want to do a speech. I'll put Jess in brackets. What other job roles? Someone going to be on the music or not? Making sure that... Music. It's really just something we like to play, listen to.

But if it stops or anything. Somebody needs to press play and start it though, don't they?

Music, what else is there? Sweeping? I don't know. Cleaning up before we go? We'll clear up at the end tonight. I think that'll be a joint effort. Yeah, I think it'll be... If anyone goes home early, I'll be... That's what he is. Just trying to think. Secure the glass. Secure the glass. Do we need to secure the glass? He's... You'll have to be kicking Bruce out. So obviously you're doing the initial set up obviously.

Food and drink anyway. I'm happy to help you with that. As I say Dan's coming to do the actual spread. I get all of that stuff. What time is he coming? Getting there for about 5, 6. I might be... OK, close it to 4. 4, 5, just so... What food is that? If it's food that you don't want it sitting out for too long.

Yeah, that's what I was thinking. Because you don't want it too close to the ear, you know, where like people start coming in and then we're still setting up.

Well, okay. I think six would be fine. What do you mean by spread? There's literally some meats, crackers, and cheeses, and fruit, like on a bit of synth oil.

And then there's plates on the side. I'm wondering what we what would in my head why I'm thinking makes the most sense is if we get hit that'll take what not even 10 like quickly check it on everyone arrange it so we're done out do I mean like it needs to be a really quick in put the food down get him out before people start turning up because people will start turning up at 10 to 7 quarter to 7 sort of time I reckon six I think six is one I'm thinking like The closer to the time that it's being eaten the better.

It'll warm up and you don't want it to warm. Because I'll be more people in the room and then it'll get all, you know how cheese gets all sweaty and gross and then no one will want to eat it and it would just be a waste of money.

I've got two mini fridges that I need to bring in. Unless you just get him to come in the morning and put all the cheese and meat in the mini fridge.

That's what I was thinking, yeah. And that's another option as well. Oh, see what? Says and I would let you zone. Yeah, yeah Because I'm seeing I'll see if you can anyway What are the job roles is there in the actual opening?

I don't know the actual open evening. I don't know. What else? Are you going to have the drinks on the table and have people garish the table?

Sort of serve as well, maybe some people. Emily and Marie said that they all sort of people to put up.

Yep. What else is there? Cool. I'm trying. I did Kate use an amnesia to be a good person. On the notes that I've got here, it says, like, for some open evening, she can have interactive activities, such as artist talks, art demonstrations, or a guided tour of the exhibition to enhance the guest's experience.

Or could we utilize some of our tutors and get them to do a mini artist talk.

Yeah, but then it's also again like what about themselves?

Because people will be like they'll come in and they'll go oh this is really cool we've got loads of students work here.

Why is this six-year-old Australian man talking about what he's probably been doing for 50 years?

Like oh okay Unless it's great. I don't think we talk. I'm not going to do one. There's no point in me doing one. I don't do talks like that, no. Unless we do a video. And play it there. And play it there. And what? I mean, an extra TV or an extra projection thing? You could just put it on Sam's one before you play Sam's thing, because it's right centre, isn't it?

We'll do the presentation after they've initially looked at the space in the work anyway and then we would switch and use sums to put the presentation like a video like a bit of We're a little bit too late for doing that.

I'm going to say a bit beyond the scenes of us setting up Yeah, yeah, we're too late for that.

We can't do that. I reckon we have leaflet of the space. We have got, obviously, curators. Katie will be involved in interacting with the audience with that anyway.

Because whilst you and Katie are doing that, obviously we can be making sure the food's...

But maybe we bring out the food at that point or we fill up glasses ready for another round of drinks.

We can sort of utilise their attention being taken away from the rest of space for them.

I kind of imagine that they'd probably want to talk to each of us so people will be wandering around just chatting to us.

Networking opportunities. Yeah, Kind of networking. So, we need to make ourselves available to network.

Facilitate networking opportunities for the guests to connect with the artists, our professionals and fellow art enthusiasts attending the event.

So really, we need some sort of business card. Everyone makes a business card for themselves because you can use it professionally anyway so you just get extra points.

Make sure you're Instagram's tip top shape and all up to date and everything.

Get all the information to who's doing the leaflets at you.

Make sure that Susan has the information for the leaflets by the end of the day because they need to be all printed out by Friday.

Well, I need to correlate with the once we're in Monday and then wherever we're in, I need to correlate with that so I need to be able to just switch the numbers away everyone else and print because Monday evening I'll be printing these leaflets.

How many leaflets do you think we all need? 60? 60? Maybe even a hundred. I don't know. I would say maybe a hundred. Because you just don't know how many folks are going to turn out.

We can all print it out. We can all put these into professional engagement anyway.

And the journal. But if we do run out, we can always print more out like the next day.

Well, yeah, I think we don't. So, if we over print, we can just have them in the thing people to have throughout the week anyway.

Yeah, that's the idea. I'll make sure that. The forms that Katie's just given everyone, I need that information by the end of the day.

So, I can start doing that if that's achievable by everyone's needs.

This is what I'm politely asking. Can I just copy and paste what I've already written, right, sweet?

Whatever you've already got, just copy and paste, this is just structured so then you have all that information that helps you with your work that you thought more into the exhibition of how you're going to exhibit blah blah blah and then it's the right input.

I'm not chasing you, well can I have this, can I have that, can I have this, can I have that, can I have this, can I have that?

It's all there on the paper, I don't, I shouldn't have to ask you for anything.

Because that's all the information I need to make your name tags and everything as well as do the little thing.

So, it just makes, Yeah, it's not easy. Okay. So, who's going to keep on top of music? Who's greeting at the door? I said I'm quite happy to do that, but I want to do it.

Yeah? Well, if I put both of you, you can relieve each other as well.

So, you can get a toilet break Sam, yeah? Without Marie's help. So, who's going to be on top of the music? I've done the playlist, it's there. How are we connecting it to the speakers? I was just going to plug my phone in. Have you got a jack? I can get one. That's fine. So, you're going to do that? Is that not my job role anyway? No, the food and stuff. You've basically got every job role anyway, so can the sweeties be continued until I speak to Pav and ask him what a job he's going to be for the meeting?