I am currently object mapping. I am repeating and re- representing the same material, I am unraveling the objects contents, emptying them. This reconfiguration allows for a shift in the perception and identity of the objects so that their flux allows a multi layered interpretation to take place. The materials, matter become less fixed more transient in their readings. It turns the meanings and allows the truth of the object to be questioned. The experiences of a once known object are altered and become less significant, however their origins and the identification of these origins is crucial in gaining new readings. This is the original grasp. If a material, substance that we once recognized can be transformed then in its simplest form our thinking is transformed. The agency of the object is charged. This nudging from original state to new state opens possibilities that are buoyant and moving. It is also about the investment the participant has in each reading so that an object has a sense of repeatedly becoming. The possibilities that an object can be more than it was and that’s its identity is forged by the participant allows a joint agency between object and participant that is then transferred to the context they are within….cultural spaces. The objects allow a participant to conduct a new experience/ event by navigating with that object that they have filled with their interpretation around other objects, other spaces. These current repetitions are examples of these beginning stages of taking the objects away from their origins. Sometimes to think how they will be encounters you have to know them. How the materials start to unify or are incongruous and repelling each other. These images are about how the objecat can fit and what will form through the distilling of their making. As I operate some and they sit on my body or are activated through being lifted or grabbed or extended from me I see what they can do and what potentially provide or incite. The megaphone interests me being loud and silent and performing a demand. Muffled ideas finding a voice. There is a particular aspect of the trigger here is that it has no button, no push, no assertion of a physical impact. The shout is a custard seepage, it feels like a physical concrete swallow, spit or vomit.
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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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