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)
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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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