Craft Artists

Recently, I updated my blog with contemporary installation artists, interior designers and now I will follow those up with craft artists who also explore space in some form.

Andrea Mastrovito

Andrea Mastrovito expertise lies in the specialism of paper crafting and cutting, and manipulates the carefully fashioned paper art forms into beautiful installations which I find to be imaginative and playful yet awe inspiring at the amount of precision needed to carry out such careful manipulations. The secret to his work, is in fact freedom. He has explained previously that freedom is the key influence in her work, as most work is commissioned by retailers seeking a ‘whimsical’ installation by the famously Italian born artist. Mastrovito has received worldwide praise and commission for his multimedia work, including his inspirational butterfly installation for Dior Homme, Paris in 2008. This year, his installation for Sephora consists of large cut-outs on imported Italian paper, forming silhouettes of figures and snow fallen trees which is a perfect example of the craftsmanship which this art emits. This creation required patience and the ability to integration of Sephora's "I'm Dreaming of..." holiday theme which then lead the artist onto using photographed models, transferred into large drawn figures, then hand-cut and gold-leafed images. The pieces, including two custom-built steel framed dioramas, were installed over the course of five evenings. I feel that the collage effect that Mastrovito has mastered epitomizes the skill that can be applied to any setting, and explores space at a greater level. The application of depth with any 2D material requires expertise to the extent that Mastrovito accomplishes, and through this exploration of space, an all-new conception is established. I was initially drawn to this craft artist through his ability to create quietly brilliant installations through the use of simple materials while also exploring space and ‘inviting’ the viewer to come closer and discover every inch of his work. His butterfly installation for Dior Homme in Paris is another prime example of this manner of work and is extremely appealing to me as it screams contemporary installation. It proves that art surrounds us everywhere, not just in art gallery’s as Andrea Mastrovito amazingly puts together a breath taking yet simple construction of butterflies swarming flawlessly throughout Dior Homme. I like the use of Light and Dark which create a distinct contrast between the harsh and geometric structure against the soft shapes within the butterflies. The immaculate finish also compliments the surroundings as Mastrovito would have had to consider the high quality garments that would fill the space she was working in when creating this installation. Personally, I find this to be an incredible installation which takes the viewer through spaces cunningly as they follow the trail of butterflies. In relation to my own work, I feel that I also produce art that evokes a certain sense of ‘depth’ and I am also starting to explore other forms of installations as I continue to explore ‘space’. The level of precision within Mastrovito’s work is an aspiration of mine, as I attentively strive to produce creations which require a conscientious and delicate ability and therefore I feel I can relate to this type of artwork and take this type of craft into my own work.

Kirsten Hassenfeld

Kirsten Hassenfeld is known for using traditional media such as paper and card to create her installations. She then transforms this conventional medium into well-structured pieces which ooze with luxurious tendencies as she plays on her own fantasies to create magical installations. Since 1999, Hassenfeld has used paper, the most ordinary of materials, to create ornate, obsessively detailed objects that reference luxury goods, classical architecture, and decorative arts. Described by Hassenfeld as "dreams on the edge of vanishing," her ethereal sculptures explore her own fantasies of abundance and plenty. Once again, like Mastrovito, Hassenfeld focuses on her ability to achieve precision to an all new level as her work continues to magnify every inch the perfectionist that she is. A prime example of this work is ‘Dans la Lune’ in which Hassenfeld creates radical shifts of scale to create the illusion of a ‘fairytale’ setting. I believe this piece is supposed to have been developed on the basis of honeycomb forms yet I find it looking like chandeliers which have been plucked straight out of a children’s mythical novel. I like how Hassenfeld concentrates solely on the one thing and adapts it and pushes the boundaries of that particular media to accomplish something unexpected. I also like the decorative appeal this has, as I could imagine it in an extravagant home as a show piece due to the architectural aspects this installation holds with geometric shapes along with gentle curves. To me, the thought process was mythical and possibly made to recreate a dream like scene the artist once had as the sheer velocity of the piece is enough to suggest that it was from a fairy-tale. They also seem to look like they are evolving, which could imply transformation within the artist as she discovers differing techniques as she describes this type of craft as ‘escapism’. Personally, I like the way the artist can evoke an emotion through her play on space, by creating something which is usually seen to be small, much larger to create the effect that we are stepping into an enchanted realm. The interpretation of space is also a factor of exploration that I hope to take further into upcoming projects, and again translate ideas into an altogether new outcome.

 

Michelle Brand



Michelle Brand is a Manchester based designer whose work always reflects her concern for environmental problems. She is also the recipient of the Gold Award in the Environmental section of British Female Inventors and Innovators Awards 2007 as her designs extend the aesthetic life of a mass-produced object by giving it a second use. In addition this body of work highlights society’s throw-away culture and the need to provide additional resources for recycling within our cities. Every bottle base in her designs represents a bottle that has been creatively diverted away from landfill and therefore frees up environmental space, by reusing material that would otherwise be disregarded. This artist looks at the space in an all new light, and this is what I am focusing on rather than purely the artist’s eco-friendly designs. Brand uses the end of plastic bottles to recreate aesthetically stunning as well as economically beneficial artworks such as a wedding dress made from bottle ends, as well as cascade lamps, and ‘flowerfalls’ which can be used as room dividers or window hangings again reiterating the ability to invade space with craft abilities but with the use of eco-friendly resources. The translucent bottle bottoms are intricately connected by string in complex geometric patterns that allow ambient light, as well as the bulb's own glow to pass through. Her cascading light chandeliers epitomize this process well by creating an iconic and dramatic focal point within any interior or infact exterior, as any cascade would look mesmerizing hanging from a large tree which would be symbolical in my eyes to the mode of recycling as one thing can stem into many more once disregarded. The bottle ends depict flower petals so effortlessly but from a distance, it is hard to believe that is what the chandelier is made from and the difficulty to tell which material the creation is made from almost draws the viewer in closer, and greatens the appreciation of the craft once realized. Overall, I feel that the ability this artist has to choosing a material, then manipulating it to create something almost unrecognizable is inspiring to me, and opens up the way I choose and see materials. As this is the final craft artist I am looking at, and this one differs slightly from the others, I decided to research what craft is actually defined as and found that it is all about the making of objects and the infinite possibilities that are born with materials and the process they go through in order to manufacture something extraordinary and in saying this, I feel that this artist excels on this front by inspiring others that something used in everyday life, and disregarded again can be transformed.

Extracts of Use from Chapter 8

As I explained in my last post, I was advised to read chapter 8 of  'Art Worlds' by Howard S. Becker and found that it would be beneficial towards my upcoming powerpoint due for Contextual Studies to take notes from the chapter, which explains the differences between differing types of artists and since my topic rests on the theme of Outsider Artists, the chapter on 'Naive Artists' was especially enlightening.

The introduction explains;

'Wherever an art world exists, it defines the boundaries of acceptable art, recognizing those who produce the work it can assimilate as artists entitled to full membership, and denying membership and its benefits to those whose work it cannot assimilate. '

'Some make work that looks like art, or is sometimes seen to do so, but do it in the context or worlds completely separate from an art world.'

'Analytically, that is, we take making art in the contrct of an art world as the standard way to make art. It need not be, of course but it is convenient to treat it as standard because common usage does and thereby hides the ordinary workings of art works from us, as what anyone knows and therefore is not worth knowing.'

Integrated Professionals

'They stay within the bounds of what potential audeinces and the state consider respectable.'

'Large numbers of people can coordinate their activities with a minimum investment of time and energy, simply by idenfiying the conventions everyone should follow.'

'What they do is the bulk of what goes on in the name of art in any society.'

Mavericks

'They propose innovations the art world refuses to accept as within the limits of what it ordinarily produces.'

'Mavericks continue to pursue the innovation without the support of other art world personnel whereas intergrated professionals accept almost completely the conventions of their world, mavericks retain some loose connection with it but no longer participate in its activities directly.'

'The work suggests to others that they will have trouble cooperating with its maker; its blatant disregard of established practice suggests that the person who made it either doesn’t know what is right or doesn’t care to do what is right. '

'They may, for instance, create their own organisations to replace those which will not work with them.'

'Mavericks thereby lose or forego all the advantages that integrated professionals more or less automatically enjoy. But they also lose the constraints associated with those advantages.'

'If people do things for reasons which are not standard in a particular world, they look(to active members of that world) unsocialised and more than a little crazy- one of the ways we recognise a reliable, well socialised person is that we immediately understand the reasons for his behaviour. '

'Because maverick work shares so much with conventional work, we can see that maverickness is not inherent in the work, but rather in the relation between it and a conventional art world.'

'They remain curiosities whose work may be revived from time to time by interested antiquarians or, alternatively, may stimulate the imagination of innovative professionals. '

'Most mavericks work is not absorbed into the canon of an art world; they remain unknown, and their work is not preserved and disappears along with their name.'

Folk Artists

'Folk art, in this sense, is art done by people who do what they do because it is one of the things members of their community, or at least most members of a particular age and sex, ordinarily do.'

Not many quotes were taken from this section as it mainly spoke of quilting as an example of folk art which wasn't relevant to me.

Naive Artists

'These artists have usually had no connection with any art world at all. They do not know the members of the ordinary art world in which work like theirs is produced. They have not had the training people who ordinarily produce such works have had, and they know very little about the medium they are working in- about history, conventions, or the kind of work ordinarily produced in it. '

'The work of naïve painters varies only a little from the work of amateur painters. Both work without any connection to the world of professional painting, though amateurs may have had classes in painting.'

'Its makers work in isolation, free from the constraints of cooperation which inhabit art world participants, free to ignore what conventional categories of art works, to make things which do not fit any standard genre and cannot be described as examples of any class.'

'Naïve artists typically begin their work accidentally or haphazardly or, I might better say, they do not purposely start a meaningful activity in a professional world whose organisation would make it a real ‘beginning’.

'With no professional training and no contact with the conventional art world, naïve artists do not learn the conventional vocabulary of motives and explanations for their work. Since they cannot explain what they are doing in conventional art terminology and since it can seldom be explained as anything other than art, naïve artists frequently have trouble with people that demand an explanation.'

'Not  surprisingly, people who create such works and give explanations like this are frequently thought by neighbours and others to be crazy. The problem of what the work is is central to the reactions of others.'

'The primitive quality of naïve art, like the maverick quality of maverick art, lies in the relation of its maker to the conventional art world. It is not the character of the work itself that distinguishes naïve art, but rather that it has been made without reference to constraints of contemporary convention.'

Extracts from Conclusion

'The difference between the work of integrated professionals, mavericks, folk artists, and naïve artists does not lie in its surface appearance or sound, but in the relation between that work and work done by others more or less involved in some art world.'

'Distinctions between these kinds of art are not distinctions of quality; work of every degree of interest can be has been made in every category. But we always look at noncanonical work- work not done under legitimate auspices of an art world- from the standpoint of some aesthetic which has its base in some world, probably an art world, in which we participate.'

Thoughts and Proposals...

For the contextual studies class, we have been asked to produce a proposal for the basis of our final written paper and clearly identify our chosen topic. Where topic was concerned, the possibilites were endless but I wanted to maintain an element of art, as well as exploring different factors of human behaviour within art and how this can sometimes affect the art produced. Through this thought process, I came to 'Outsider Art'. This topic interests me at a personal level, as well as promising enough depth to enthusiastically write a paper on in relation to it. The subject of Outsider Art also provided me with a learning curve as I know enough about the subject to have an opinion on it, but there is definately a lot of potential in the topic in order to gain a deeper understanding and expose the differences in outsider art to that of a trained professional.

Art Brut’ - Outsider Art Proposal

I intend to investigate into the intentions of outsider artists and where the term originated from in an attempt to decipher between art made for an audience, and those who create art in its purest form, through self-expression with no objectives. Outsider artists are seen to be people with no artistic background, self-taught individuals who create art through raw creative impulses with no real intent or reasoning and often go unnoticed in the strenuous environment that the art industry have created. Their art is not influenced by society, nor affected by the reflection of an audience, and exists merely as an expression of themselves. Outsider art challenges modern culture and are often described as having little or no art ethics; a vast divergence from those who have experience in art schools, art galleries and exhibitions.

I want to explore the depths of ‘Art Brut’ as it is originally known, and those who produce art for no one else apart from themselves, who have no cultural awareness of the creativity they are capable of producing, nor the individuality they are unconsciously nurturing. In an attempt to highlight the dissimilarity of outsider artists and those who have a recognised artistic background, I will study the working methods of contemporary artists of today who work solely for commissions and exhibitions of their work, with every intention of a vast audience embracing their work and appreciating their creative abilities.

The individuals who are seen to be ‘outsider artists’ are known for not classing their expressionistic compulsions as art at all, nor would they brand themselves as artists. The earliest form of ‘Art Brut’ tended to exist from those people institutionalised, with no understanding of art and deprived of any cultural influences. The worries created by competition which often rule any modern day artwork are non-existent to those labelled as ‘outsider artists’ and this could be seen to drive their work into a whole level. The idea of comparing those deemed as having no cultural influences to those whose entire artwork is driven on the thought of an ‘opposition’ and the idea of being ‘recognised’ for their efforts will be seen to drive the essay. 

Fundamentally, I intend to expose the thoughts and lack of intentions between those who considered as outsider artists, and the contemporary artist of today who is deemed to be motivated through appreciation of their artwork from the audience of the art culture today. A comparison of the diversity of objectives will emphasize the ‘raw’ vision that encompasses an outsider artist to that of an artist driven by their audience. I aim to uncover the main differences between a conventional artist and an outsider artist, whether it be through contrast in terms of mentality, or the difference in the finished artworks. Does the artwork of outsider artists really ever finish? And can the artwork of an outsider artist be recognised if put alongside the artwork of a modern day practicing artist? The ability to express ‘freely’ may result in the artwork to have a distinctive peculiarity surrounding it and these are the questions I hope to delve into in an attempt to study the artwork that often goes uncharted in society.

Feedback...

'There's a lot of potential here. Think about whether art is about the 'doing' or 'being' of the artist, how this relates to authorship and what the notion of 'outside' says about 'normal' behaviour.'

Alongside this, a book was enclosed left with instructions to read chapter 8 which I have done so and taken notes of. My findings will be explored in my next blog! ...

More PDP Research!

Previously, I updated my blog with the three artists I researched in an attempt to further my knowledge of each practice. So as I have successfully completed the contemporary artists research by looking into installation artists, I have now decided to carry on the theme of exploring space as this is something I am inspired by and drives my own artwork, by now continuing my research by investigating into interior designers.

Jestico & Whiles

Jestico and Whiles is a world renowned and recognised architectural and interior design firm which have designed award winning hotels around the world including Andels Lodz, the recipient of the European Hotel Design Award 2009, Andels Berlin and the new “ultraluxe” Yas Hotel on Yas Island in Abu Dhabi which spans the new Formula One Grand Prix race track. A running theme within all hotels designed by Jestico and Whiles is an ultra-modern elegance and exceptional attention to detail as well as pushing the boundaries of how things are supposed to be ‘seen’. If we look at the award winning ‘W Hotel’ in Leicester Square, this design  is a prime example of a building posing as a multi-functional  pixellated screen – the first of its kind in the UK – capable of projecting dynamic light installations in an exciting new collaboration between contemporary architecture and art. This digital alteration existing within the outer skin structure of the building allows the presence of the building to alter as day turns into night. During the daytime, the building reflects everything around it, creating a reserved and calm atmosphere whereas as night falls, the building comes to life and epitomises the largest electronic light installation in London. This building shows how careful consideration to the surrounding space of a building can have a dramatic impact on the appreciation of the design as this carefully reflects the folds evident in a theatre curtain, which evokes the cinematic heritage that the West End is certainly well known for. The reflection of a progression of day into night can also be seen and adhered to as passers-by notice the subtle changes that occur steadily throughout the day illustrating the evolution which has occurred within todays architecture. The working of space and the reflection of space within this design has been the focal point I have addressed as I also work with these specific mannerisms and greatly value this type of contemporary architecture which engages not only the art world, but also the general public.

W Hotel in the day time.

W Hotel at night.



SHH Design Agency

SHH based in its own west London studio, is a 55-strong practice and employs a highly talented and cosmopolitan team of architects, interior designers, graphic designers, technical and administrative staff.  SHH’s work is also very much international in scope, located anywhere from Moscow to Bahrain, Pisa and Riga to Qatar, Lisbon and Tokyo. SHH has a strong portfolio stretching from bars and restaurants, to hotels and offices. Their design team offer cutting edge ideas followed by a bold and confident elegance which can be seen in every design they produce. One of their most famous clients was The Barbican Centre which they created The Barbican Foodhall and Barbican Lounge for, winning numerous awards including Best Restaurant and Bar Design Awards 2011 and Best Bar/Club Lounge to name just two. I have decided to focus on the Barbican Lounge as I feel this design appeals to me more as an artist with the vibrancy of the design, and the attention to every detail from the poured peacock blue resin flooring which was colour-matched to a photo of the Barbican Lake in Summertime which is then complimented by the solid timber cladding from floor to ceiling. The Barbican Lounge also offers a 14m bar which is made with black glass with a black mosaic bar front, excelling in anyone’s standards with lavish materials to compliment the surroundings the interior design has originated from. I am particularly impressed with the linking of spaces, and the visual connections which can be made from the outdoors to the interior design choices made within the Lounge. The decision to create a ‘bare all’ approach to reveal the fine materiality which already exists within the Barbican, and instead work around this feature to heighten it has paid off and allowed SHH to further expand in terms of international recognition. The decision to focus on links and visual connections made within the building to the external terraces and beyond is one which I am particularly interested in, as I also create links and visual connotations to the concepts I am trying to portray in relation to the materials I decide to use. The linking of materials and ideas in this design is one which I hope to investigate further, and again explore space further as SHH display  the exploration of space doesn’t need to be confined just to just the interiors.

Part of the 14m Bar.

'Stripped back' yet stimulative lighting.

CAMPAIGN Retail Interiors

  

Campaign is an award winning retail design agency. The studio develops integrated brand experiences through interior, brand and digital design. Campaign is comprised of creatives from a diverse range of backgrounds – architects, film makers, interior, graphic and product designers – all hands on in exploring different media and methods in order to tell unique and engaging brand stories. Their unique selling point with designs is undoubtedly their ability to create the unexpected, and make it work to their advantage. Their designs are beyond breath taking and certainly evoke the award winning contemporary retail interiors of today. The striking links which are played upon using minimal direction is inspirational and really exaggerates how the brain can link which market setting is being shown through simple yet effective advertising design decisions. An incredible example of this can be seen in the recent renovation of London’s Kirk Eyewear Store as every connotation made with your typical opticians is thrown out the window, in place for dramatic interiors. The inspiration for this design was taken from the global brands latest Kinetic collections which is played upon by a series of oversized lenticular printed eyes suspending in the front window. By using leading graphic design, the eyes simultaneously wink in various disguises automatically drawing any passer-by to the store. Inside the store, a gallery like product display can be seen as the black on white theme continues in every inch of the design leading you to the eyewear being displayed to one side, suggestive of an installation in a modern art gallery. Again, visual links can be seen from those displayed in the windows to the display rack which the eye graphics are repeated behind every piece of eyewear they hold. The artistic design of this store is second to none and is definitely one of the most inspiring and contemporary uses of retail design I have seen. The eyes play on the customer as they illustrate varying emotions as well as draw your attention to the eyewear as no annotation can be seen in or outside the store apart from the store logo. The typical furnishings seen in most opticians are not seen in this store, along with any other business related product placement and instead the focal point is purely on aesthetics which mentally suggests, the glasses help your aesthetical appearance. The store has an encouraging and persuasive composition as you are drawn in further and further towards the services provided at the back of the store, where the large iris wall feature lies, identifying the main part of the store. The ideas and concepts behind this store layout are inspiring towards myself by focusing on one thing, but using simple ideas in innovative ways and methods to create something purely outstanding. This store is a work of art in itself, and the use of varying observations and transforming these into something aesthetically pleasing is one which I hope to take further and even evidenced in a previous project with numbers. Taking a simple idea and converting that to display something unidentifiable is definitely a route to take further.

Kirk Oringial Eyewear store from outside.

Close up of 'Gallery like' set up.

A Festive Update!

Since I am coming to the end of my Festive holidays, I think it is time I updated my blog with the final outcome to the remaining briefs for creative practice! I felt as if I tried my best and worked towards the deadline well and efficiently as i completed my final piece days in advance and produced an installation piece which also seemed to be visually attractive as well as conceptually sound.

The Artists Statement

This glass artwork is a direct response to the Alloa brief which required a creative response towards the newly build campus.The material of glass was chosen as this is a material noted for being fragile and from this I want to recreate this fragility into a piece which also idolises density. The glass symbolises the past of Alloa as well as their notable future and the future of the students within it through the opening of opportunities as the glass can be seen to represent, as unlike mirrors, glass enables the viewer to shift between looking at it, and looking through it. This is similar to the mentality of someone focusing on their future potential by studying at the college. Glass as a material can symbolise the formation of realisations that students go through whilst they adapt to further learning, by allowing a clear image of their aspirations to be ‘seen’.

The rectangle shape of the glass has developed from the idea of building blocks which represent the future for Alloa and from research into shapes, the rectangle is a familiar shape which depicts honesty, order and formality and is also one of the most common shapes we ever encounter. This then represents the idea of the bricks representing the ethos of the college through a nurturing sense, something we depend on to further ourselves as well as give order to our lives and the provide us with the formality to build our future and seek out potential opportunities.

The red stringers used in the glass has connotations of courage, as well as leadership and denotes will power which are qualities relating to the pursue of opportunities and without these, this would not be made possible. The orange evokes enthusiasm, creativity, determination, success and encouragement and with this colour, the description of a dedicated student can be realised, devoted to learning and achieving as well as drawing the viewer into the piece visually. Yellow stimulates mental activity as well as having connotations of intellect and energy. In addition to this, it visually captures attention and is depicted as a ‘spontaneous’ colour and adds vibrancy to the design, furthermore it also evokes qualities of the brain as we adapt to learning and by stimulating the brain we are opening up to a better learning experience and without spontaneous actions during our learning pathway, opportunities can be missed. Green relates to growth and nature and suggests stability and endurance as well as signifying ambition within an individual and this can be seen as symbolising the growth of Alloa as a town as this is visible throughout the new building as well as the nature that surrounds it. Amongst these vibrant colours, I have added a contrast to the piece to illustrate that each student is different to the next no matter how similar we seem and this will be done through the use of black and white. White represents purity and goodness and more importantly implies a successful beginning. A touch of white to the piece suggests a new beginning in the right direction for Alloa and the achievement which will be attained through this. Black indicates power and formality as well as strength and the addition of black indicates that in order to find and realise any of these characteristics above, we need the will power and inner strength to seek out these attributes.

The contrast between straight lines and the triangular shape reflects the research undertaken into shapes, and the triangle can be interpreted in two ways, either as an unstable entity or steady strength. By pointing the triangle upwards, I am focusing on the positive side to the triangle yet this shape still evokes a volatile situation in addition to the already fragile material that I am using. The straight lines that stand alongside the abstract form suggests that from chaos, order can be found and as they are also linked with revelations, this coincides with my theme as it is about the revelation of opportunities and potential and the exposure of ideas and stability.

Bricks are used to conceal but my decision to use glass as my material opens up the conceptual thoughts of seeing through any barriers to continue our evolution into our future. The staggered effect will further the concept of bricks, but as I have allowed some of the original glass to be seen, this conserves the thought of preservation of Alloa’s past which has become the foundations of their future through the use of my glass bricks. The glass has links to Alloa’s industrial past and the make-up of the brickwork is significant to the building of a future. I want to draw the viewer in and encourage them to walk to the very bottom of the corridor, to experience every inch of the campus and instead of merely walking past or seeing through the glass, they can appreciate all it stands for and feel stimulated to walk further therefore representing the concept of progressing further to eventually seek out the opportunities that are ahead of us.

What I want the viewer to see from every piece of broken glass is the connection that each crack has with the next. This highlights that although there are many people at the college which the initial crack would be indicative of, each of the individuals is destined to their own pathway and should strive to find their way through anything in their way of achieving what they desire. This also illustrates the fragility of glass, and how this strong structure can be broken at the slightest touch therefore implying that by creating a brick pattern of glass, I am indicating that barriers are made to be broken and as glass is constantly evolving alongside the discovery of new techniques to use with this material, this implies the thought of progression, and how although something may seem ‘finished’, it is never really the end but instead the start of a new beginning.

Pictures of Final Piece

The above pictures illustrate the final glass productions which were made by the same process as my previous maquette which was made using incompatible glass. The only difference in the process was the change of glass which I decided to source all from A&J glazers to avoid any incompatibilities from arising again.

Photoshop

The next picture illustrate the editing that was involved in this project as this was site specific and my glass bricks were made for a specific space and I wanted to bring the piece to life by installing it in the chosen space via Photoshop.

I tried various different options for the placement of the bricks within the chosen space but found this one to work best and display the concept to its fullest.