After much thought about what to do with my caravan pieces, I think I have finally found a solution which incorporates everything I want the audience to feel when wiewing or experiencing the work.

I will install most of the pieces in a 4ft by 5ft by 4ft tall box, contained on all sides apart from the front, where the inside will be viewed from. Inside will be the caravan pieces, for example the table, seat, cupboard hob and sink, all life sized and arranged as if it were a real caravan compressed into a much smaller space. In this space will be playing on repeat the sound of rain on a roof and a whistling kettle, repetitively boiling as if the viewer is trapped in this claustrophobic caravan, in the rain, with nothing to do but make tea.

There are some questions to be answered in relation to the viewer to make this installation / sculpture as successful as possible. Firstly, should the viewer be allowed or encouraged to sit in the interior, and feel the claustrophobia first hand, or will just looking at the arrangement suffice? I like the idea that someone could get inside, and I don't think I would disencourage this if someone were to get inside. I was also thinking about what Louisa said, about a theme of my work possibly being about people touching my work, and I think in this case it would work really well, because my interest lies in the grotty qualities of the pieces themselves. How will people know they can get in? Do I even tell them or just let them? The caravan fittings are life-size and the box is much smaller, so it will be a tight squeeze, but this is my intention. Theres often an unwritten rule in the gallery space that you can't touch the artwork, which could be problematic if I especially want people to get inside.
Another is again to do with the two components of the work, something which I have had problems with throughout. I won't be playing the film with the rest of the caravan, and I don't think I will even play it on the reverse side of the box as in the drawing, because I feel this is a separate entity in itself, and I find the objects have a much more desirable quality to them. However, I will have to wait until I have completely installed the caravan pieces to decide whether I definitely need the sound piece or not. I have a gut feeling that I will use it to evoke more of a sense of being in the caravan (I found that a lot of people remember certain tiny details of caravan holidays, like the whistling kettle, rather than remembering the set up of the interior). I think a lot of these decisions can't be made through drawings but only through setting up the installation.