During the first WIP, although the tutor asked us to treat it as a real exhibition, I had no prior experience of exhibiting my work. Because of this, my approach was very simple. I placed all my paintings directly on the wall, printed my illustration story and laid it on the table, and put my glass vase and white clay on a white table without much adjustment. Honestly, the overall effect was not very successful. At that time, my main concern was only that others could clearly see what I had done. I did not truly consider how the works should be presented if this were a real gallery space. I also believe that I did not yet have the ability to think in that way. In addition, during the first WIP, each group member only needed to think about their own project, without considering how different works might influence or connect with each other.

The REMIX show after the holiday quickly brought us back into the rhythm of the semester. This time, the tutor required us to work as a group and think about how to present a show like a real group exhibition. This was the first time I seriously considered how an exhibition should be organised as a whole. Although I am not fully satisfied with the final result, I learned a great deal from this process.

One of the main problems of our group was that we focused too much on planning individual spaces based on working methods. This approach was logical, but it caused a lack of content-based connection between the works. Before this class, I was not aware of how important these connections were in a group exhibition. Our exhibition title was a sum of our student numbers, which was interesting and creative. However, in a real exhibition context, such a title might confuse the audience and fail to communicate any clear idea. In contrast, the group next to us discussed the shared qualities of their works and chose a title that could summarise those characteristics. This is something I believe we can learn from.

In terms of my own display decisions, I chose only my two most representative works: the illustrated story A LOVE MAN and the small installation Love Saving Jar. For A LOVE MAN, I made changes by adding colour to the work. For Love Saving Jar, I placed a dark fabric underneath to increase contrast, as the white table had previously made the work less visible. These adjustments helped me realise how small changes in display can strongly affect how a work is perceived.

Overall, through this exhibition practice and Julia’s lecture, I developed a clearer understanding of curation. I now see that curating is a complex task. It requires deep understanding of different artists’ works, careful planning of space, effective communication between artists with strong individual personalities, and the ability to balance many factors in order to create an exhibition that clearly expresses its intention and allows the audience to fully engage with the atmosphere. This experience has also changed the way I visit exhibitions. In the past, I often overlooked exhibition statements, but now I read them more carefully. Understanding the curatorial intention has made the experience of viewing exhibitions more meaningful and enjoyable. I am grateful to the tutors for their guidance and teaching.