A young collector has expressed an interest in buying the installation, but it has been very hard to arrive at a realistic price. I have taken advice from gallerist Bea de Souza (The Agency) who has made some helpful suggestions on how to present the work for the buyer that is of museum standards. A fantastic photograph of the piece is an important part of this.
Charles Shearer took some photos in the first week, and is coming again today. But here are four from his first proofings...
I have also spent some considerable time trying to make a time lapse movie of the tide going out to reveal the plates, so far without success...
The installation has been cleaned by hand three or four times since going in – after three or four days silt builds up on the plates and begins to obscure the pattern, damping down the contrast of the blue with the green. It is very tempting to leave them to become covered in mud. If I had not cleaned them, they would be white/off-grey by now with no pattern visible at all.
The problem with going in to wipe the plates clean is that muddy black footprints are left behind. After one tide, the deep footprints fill with water and soften so that after the next tide, they show up as dimples in the green carpet. Creekside Open's co-ordinator was keen to have a less dimpled mudbank and sparkling plates for when The Culture Show visit on Friday for SLAM (South London Art Map Last Fridays). On the off chance Creekery #2 might be filmed, yesterday I purchased a 30 metre garden hose and attempted to hose the plates down without leaving any footprints, but the jet wasn't strong enough to disperse the ingrained silt.
Perhaps that is Creekery #3 – the plates and Creek left to their own devices, as was inferred in my original text...
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