I see these grasps as an extension of agency but they are quite literal at this stage and relatively easy as objects. In terms of other objects that I have made before these feel like examples of a first step. However, I think this a necessary step in order for their completion to take place in sessions with others. The slippage can then be seen or made by others through collaborative processes with matter and thought. Thoughtful matter. So, I firstly used them at BCU where MA (Art and Education Practices) mapped the identities of these objects (see April blog entry) and we discussed the move from the description of the matter to the possibility or potential of the objects. Some referred to them as incomplete and some gave them partners. I also have made accompanying partners for the objects (see later objects). What is important is that it isn’t just the object adding to another object to become something else. It is the human link to the object that enables it to perform. The extension is at least three-fold. Object as a form (and then the encounter with it) + object and its form (and then the encounter with it) = new object and its new form (and the new encounter with it). The grasp only occurring with our engagement. The object (in my case) must be activated through the engagement. It is at this moment that the decisions and thoughts shift proactively through the embodied engagement. In supervision it was asked what if people already know art objects and are already familiar with them ----- this doesn’t change the agency of the encounter – the physical and the haptic are still very much provocations because of the crossover of territories. The objects may well be recognisable in terms of art or as original form but the process that accompanies their function changes readings and status. Kaprow’s ‘attention alters what is attended’ is in full force here when the objects are used. I will unravel this through the other writing – but it is fundamental to the research. The objects always act as provocations through the merging of meaning and matter.
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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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