The double or twin. In the small yellow book 'are we human' notes on the archaeology of design Colomina and Wigley discuss the object/artifact as 'part of the body and the brain. They are thoughts'. Following supervisory comments I thought of the 'difference between the materialisation of thoughts and their emergence or incubation' mm I am seeing the objects as a materialized thought, or enabling emergent thoughts. Incubators seems to place the object with a function to retain many thoughts. I always thought of the objects we make having a patina of experiences and narrative that become inherent within the objects. Strata of meanings and interpretations. Materialization seems to talk of new thought/action manifested whereas emergent is already embryonically present? So, there are questions on what you draw from or what the objects provide. The objects can enable new thoughts related to themselves and their materials and surroundings and are equally be reminiscent of, related to something more personal, already known and thought but not voiced in the particular context? Is there a filing of the gap between body and brain with these purposeful objects? They are non human and human in their closeness and relationship. After discussing with a Lecturer in Creative Writing and Literature about the fable of the tortoise and the hare he spoke of the idea that the tale makes the animals more human, more understandable both different but the same. These reorganizations, to converge or split, links with Massumi's (2002 ) view of "continuity and discontinuity'. the objects can alter attention and not just slow but heighten responses. The encounter with the form, material, object is also pitched according to the types of material used. The language of the objects discussions shift dramatically depending on the materials own identity. If all the objects are weighty and hard the discussion are too and mirror the matter. In previous commissions, we (sorhed) have to sign contracts to replace and repair for up to 2 years any of the objects. This is because there has to be variants and differences in the physicality of the forms. One origami bird has been replaced about 7 times over the years but the gentle nature of the object forms similar gentle discussions and sensitive meeting points within the collection they operate in. I often talk of the speed of the objects reading, its temperature and its volume. These details in the making and choice of materials open levels of differing dialogues and connections. This is obvious yet the treatment of the matter is crucial to its potency. Rebecca Horn. Trunk 1967-69 Lygia Clark. Hand Dialogue 1966 to come back to
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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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