The relationship with the body within the research becomes constantly stronger, through the encounter, through the form of the material, through its exchange, its fluidity, its function and the moment it is reminiscent of body and is - itself forceful.
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To look at an object is to inhabit it, and from this habitation to grasp all things in terms of the aspect which they present to it. (Merleau Ponty, 2012. p.68 translation) There is something in the bodies recognition of a material, a form, that sits amongst the body in a crevice, under a thumb, in a clutch. It steers us towards other moments of recognition. The film below shows both Nell and Caroline discussing the license they have been given and how the object equally allows them something more. What is important is not just the encounter as a fundamnetal shift but that these two people who understand the language of the gallery, of the exhibition, of visual language and of art needed to be given license, needed to be allowed. The encounter that Caroline discusses is about a recognition both close to and apart. An ability, that through another material within her hands she touches another material conceptually. However, it is more than a conceptual touch, the belief that she can hold the Penone in the experience of another object is a new truth forming through the embodiment of her grasp, her grip, her hold and perception of the object in her hands. It is not about the Penone and it is more than the object I made - it is her woven threads and connections back and forth or as a triparite between body of flesh, of object of material. 'Every object is the mirror of all others' (Merleau Ponty, 2012. p.68) 'sometimes you have to pause to catch up with where you already are (Stewart 2007. p.63 The images of pages of text of lifting it up, making it fold, obscuring the view stopping me seeing the meaning or read the meaning repeat. I do this action often and the placement of something on the page is a concentration of the words below, although hidden. i make them concrete, a solid way back. They are small deposits on the page - as are the words. Sometimes they are my words and sometimes anothers. The images below made and obscured or made clear by Charles Garoian make the text, make the words more than themselves and there is something dislocated in the relationship between his marks or shifts in the letters that are all of course equally embedded through the ink of the page. I suppose the splat or the spit, that I repeat are about the space just above the words -the liminal, just before the utterance or thought. Not delicate but clumsy and dumped, the materials of paper, text and matter have a small wrestle. Garoian, 2010. Sometimes the page has no text and still it seems things need to stand up from the flatness, revealing themselves and becoming an experince beyond a plateau. I cut into and layer in order to see something else, making portholes, connections between marks that do not belong together but are the same. Sometimes the images are more than the assemblages are and suggest something else is possible, sneaking round the corner, or unfolding folded things.
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Kimberley FosterKimberley's practice as an artist is pedagogical, it doesn’t just reference learning, it plays with, embodies and encourages learning at its core. The objects consider ideas of collaboration and authorship, discussions about touch and encounter, and bring into active consideration issues of learning within social and participatory practices. Archives
October 2018
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