{"id":3777,"date":"2019-02-13T07:00:34","date_gmt":"2019-02-13T07:00:34","guid":{"rendered":"https:\/\/3acompositesusa.com\/\/blog\/?p=3777"},"modified":"2019-02-12T15:39:20","modified_gmt":"2019-02-12T15:39:20","slug":"contemporary-artwork-created-with-dibond-reflects-museums-exhibition-with-bold-contrast-to-neo-gothic-architecture","status":"publish","type":"post","link":"https:\/\/3acompositesusa.com\/blog\/contemporary-artwork-created-with-dibond-reflects-museums-exhibition-with-bold-contrast-to-neo-gothic-architecture\/","title":{"rendered":"Contemporary Artwork Created with Dibond\u00ae Reflects Museum\u2019s Exhibition with Bold Contrast to Neo-Gothic Architecture"},"content":{"rendered":"\n
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\u00a9 Ian Kirkpatrick<\/figcaption><\/figure><\/div>\n\n\n\n
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DAVIDSON, N.C. (Feb. 13) \u2013 The Oxford Museum of Natural History received nearly 100 proposals from artists asked to create contemporary art to coincide with the museum\u2019s temporary exhibition entitled \u201cSettlers: Genetics, geography and the peopling of Britain\u201d (https:\/\/oumnh.ox.ac.uk\/event\/settlers<\/a>).<\/p>\n\n\n\n

The selected bold style of contemporary artist and graphic designer Ian Kirkpatrick (www.iankirkpatrick.ca<\/a>) would serve in sharp contrast to the Victorian neo-Gothic architectural design of the museum founded in 1860 in Oxford, England.<\/p>\n\n\n\n\n\n\n\n

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Kirkpatrick is a Canadian artist originally from\nVancouver, British Columbia, who moved to England with his wife in 2007. He\nworks from a studio in Leeds supported by East Street Arts.<\/p>\n\n\n\n

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In a website statement, Kirkpatrick describes his\nwork as \u201cinspired by the history of art and design, from ancient cave art and\nGreek amphorae, to graffiti and computer graphics. The hieroglyphic\nsurfaces of his 2D and sculptural pieces remix iconographies from past and\npresent cultures, often in response to current political and social themes.\u201d <\/p>\n\n\n\n

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Kirkpatrick creates most of his work digitally and then manufactures it out of industrial materials including: stainless steel, vinyl, corrugated cardboard, cast acrylic sheet and Dibond\u00ae aluminum composite material (www.3acompositesusa.com<\/a>).\u00a0 <\/p>\n\n\n\n

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He chose Dibond graphic display board to create a\nseries of six panels entitled: \u201cWhere Do We Come From? What Are We? Where Are\nWe Going?\u201d The panels were installed in conjunction with the museum\u2019s\n\u201cSettlers\u201d exhibition, which was displayed from Feb. 9, 2018, through Sept. 9,\n2018.<\/p>\n\n\n\n

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\u00a9 Ian Kirkpatrick<\/figcaption><\/figure>\n\n\n\n
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(Dibond is an aluminum composite material\nconsisting of two pre-painted sheets of 0.012-inch aluminum bonded to a solid\npolyethylene core \u2013 a unique composition that makes it approximately one-half\nthe weight of aluminum. As the flattest panel on the market, Dibond offers a\nsuperior surface for direct digital-printing; it also can be routed and\nreturned to add dimension or roll-formed to deliver sweeping curves. Dibond\noffers outstanding durability in outdoor applications and won\u2019t bow or oil\ncan.)<\/p>\n\n\n\n

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Kirkpatrick first used Dibond in 2010 to create\nartwork designed to look like street signs and displayed in Southampton, England. He used the Dibond material as\na base for his artwork printed on vinyl.<\/p>\n\n\n\n

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\u201cI liked the light weight of Dibond,\u201d said Kirkpatrick. \u201cIt also offered a physicality that you don\u2019t get from paper. It was around this time that I started to use a computer to create art and wanted to utilize art techniques to produce industrial-looking pieces. I found that Dibond could be cut quite easily. It was affordable. And, it could be digitally printed.\u201d<\/p><\/blockquote>\n\n\n\n

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Kirkpatrick again turned to Dibond in 2017 to create a piece commissioned by the Leeds City Council to beautify a neglected historical building in the Leeds South Bank area.\u00a0 Entitled \u201cRenaissance,\u201d the commission featured a series of Dibond window prints that were digitally printed and installed by Leeds-based Dock Street Signs (www.dockstreetsigns.co.uk\/<\/a>).<\/p>\n\n\n\n

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The \u201cRenaissance\u201d Dibond project has held up well\nand is still displayed in Leeds, so Kirkpatrick readily turned to\nsturdy-yet-lightweight Dibond for the museum exhibition that would be displayed\nfor seven months.<\/p>\n\n\n\n

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\u201cWhen I originally submitted my proposal, I\nsuggested several Dibond panels to be scattered throughout the museum that\nwould reflect contemporary life and modern migration in England,\u201d said\nKirkpatrick. \u201cBut once I was awarded the commission, they decided they wanted a\nreally big and eye-catching piece. It needed to be large and visible in a less\nvisible area of the gallery where it would be installed on the first floor\nleading to the exhibit upstairs.\u201d<\/p>\n\n\n\n

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Kirkpatrick spent four months researching, planning\nand creating six panels for the exhibition which, according to the museum,\nexplore the social and natural causes behind human migration, both in ancient\ntimes and in the present day. <\/p>\n\n\n\n

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\u00a9 Ian Kirkpatrick<\/figcaption><\/figure><\/div>\n\n\n\n
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As described by the museum\u2019s More Than a Dodo blog: \u201cIt presents historical and modern peoples moving across a landscape in response to conflict, climate change and urbanization , and remixes imagery from classical paintings alongside iconography from Great War postcards, Roman coins and the Bayeux Tapestry.\u201d<\/p><\/blockquote>\n\n\n\n

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After researching the subject matter, Kirkpatrick\nused an iPad Pro pencil to sketch imagery and then re-drew the artwork in Adobe\nIllustrator, creating clean graphics and adding vibrant colors. <\/p>\n\n\n\n

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Four large panels \u2013 measuring approximately 360cm\ntall by 150cm wide \u2013 had to be fitted for installation as a panoramic scene\nwithin the historic museum\u2019s first-floor stone archways and columns. Two\nsmaller panels \u2013 measuring approximately 240cm tall by 86cm wide \u2013 were fitted\nfor display within stone arches near the \u201cSettlers\u201d exhibition.<\/p>\n\n\n\n

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\u201cI had to rearrange the design of the graphics to\nmatch the exact shape of the archways,\u201d said Kirkpatrick. \u201cWe had to measure\nthe arches very carefully because they were built in the 1800s. I then re-drew\nmeasured arches in Adobe Illustrator and fit the artwork into the arch shapes.\u201d<\/p>\n\n\n\n

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Kirkpatrick sent the images to Dock Street Signs, which\nutilized a Durst Rho 1312 flatbed printer and UV inks to digitally\ndirect print the artwork on 3mm White Dibond panels. \u201cThe Dibond printed\ngreat,\u201d said Kirkpatrick.<\/p>\n\n\n\n

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\u00a9 Ian Kirkpatrick<\/figcaption><\/figure><\/div>\n\n\n\n
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Each of the six Dibond graphic panels arrived as\ntwo printed halves that would be seamed together for installation \u2013 a process\nthat would pose its own unique set of challenges because the historic building\nis \u201clisted\u201d in England and its stonework must be preserved intact.<\/p>\n\n\n\n

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Rather than risk damaging the masonry arches by\nutilizing drilling or gluing processes, the museum\u2019s building manager, Peter\nJohnson, devised hand-cut plywood pieces to sit snugly on the capitals and\nsupport the artwork \u2013 without allowing the Dibond panels to rest on the stone.<\/p>\n\n\n\n

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\u201cWe bolted the pieces horizontally together and\nmade sure the images were aligned and then bolted them into the wood,\u201d said\nKirkpatrick. \u201cWe used adhesive tape between the two panel halves to make sure\nthat they were flush.\u201d  <\/p>\n\n\n\n

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Kirkpatrick worked with museum building personnel\nto install the artwork \u2013 a process that was completed in 1.5 days utilizing\nstrong scaffolding. Kirkpatrick gave a couple of presentations about the\nartwork during its exhibition and said: \u201cThe curator seemed quite happy with\nthe piece.\u201d<\/p>\n\n\n\n

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In the museum\u2019s More Than A Dodo blog, Kirkpatrick\ndescribed the completed project as: \u201ca lot of work \u2013 but it\u2019s also been very\nsatisfying to see it finally installed. Although the piece initially started as\na comment on contemporary British settlement, it evolved into something that\nexplored global migration throughout all of history. Trying to find a way to\ntackle a theme that big while still remaining visually coherent is quite\ntricky! But I was really pleased with the results and love seeing the finished\npiece housed within the magnificent neo-Gothic architecture of the museum!\u201d<\/p>\n\n\n\n

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Kirkpatrick\u2019s art has been exhibited across the UK\nand internationally, with shows in New York, Chicago, Montreal, Berlin and\nLondon. He has produced commissions for the London 2012 Olympics, the Tour de\nFrance and the Oxford Museum of Natural History. He is currently working\non public art projects in Leeds, Amsterdam and Rotterdam. <\/p>\n\n\n\n

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For more information about Dibond, visit www.3ACompositesUSA.com<\/a>, email info.usa@3AComposites.com<\/a> or call (800) 626-3365.<\/p>\n\n\n\n

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    About 3A Composites USA<\/strong><\/p>\n\n\n\n

    3A Composites USA specializes in the\nmanufacturing of leading substrates for the graphic display and architectural markets\nin North America, South America and Central America. With manufacturing\nfacilities in Benton, Ky., Statesville, N.C., and Glasgow, Ky., and sales and\nmarketing offices in Davidson, N.C., our industry leading brands include:\nFome-Cor\u00ae<\/sup>, Sintra\u00ae<\/sup>, FiberMate\u2122<\/sup>, Gator\u00ae<\/sup>,\n  <\/sup>Dibond \u00ae <\/sup>and Alucobond.\u00ae<\/sup><\/p>\n\n\n\n

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    ALL PHOTO CREDIT:<\/strong> \u00a9 Ian Kirkpatrick<\/p>\n","protected":false},"excerpt":{"rendered":"

    DAVIDSON, N.C. (Feb. 13) \u2013 The Oxford Museum of Natural History received nearly 100 proposals from artists asked to create contemporary art to coincide with the museum\u2019s temporary exhibition entitled \u201cSettlers: Genetics, geography and the peopling of Britain\u201d (https:\/\/oumnh.ox.ac.uk\/event\/settlers). The selected bold style of contemporary artist and graphic designer Ian Kirkpatrick (www.iankirkpatrick.ca) would serve in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_s2mail":"yes","footnotes":""},"categories":[94],"tags":[692,96,204,632,740,164,626,889,282,890,888,891,893],"class_list":["post-3777","post","type-post","status-publish","format-standard","hentry","category-dibond-projects","tag-contemporary-art","tag-dibond","tag-dibond-acm","tag-dibond-art","tag-direct-to-dibond","tag-displays","tag-graphic-design","tag-graphic-designer","tag-graphic-display","tag-ian-kirkpatrick","tag-museum-exhibit","tag-oxford-museum-of-natural-history","tag-political-art"],"_links":{"self":[{"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/posts\/3777","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/comments?post=3777"}],"version-history":[{"count":5,"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/posts\/3777\/revisions"}],"predecessor-version":[{"id":3800,"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/posts\/3777\/revisions\/3800"}],"wp:attachment":[{"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/media?parent=3777"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/categories?post=3777"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/3acompositesusa.com\/blog\/wp-json\/wp\/v2\/tags?post=3777"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}