How do I balance my understanding of encounter - agency and affect with the affordance that the material/object manifestation that I use or have - the specifics of their manufacture and their materiality. It matters. I am not offering an orange or a plank of wood, a ball of woo, or a cup in oder to enage aspects of art pedagogy....I am choosing honing in on, making, crafting the tools, the objects that are encountered. We are in the midst of all this stuff all the time, matter touching our skin, sharing spaces, filling our lives......inhabiting galleries, museums and academies, But what does it mean to choose, order, reorder, grasp from the multitude of possible stuff to make the specific and the particular. Is it to easy to say that this process is art. Is it really dependent on what the intention is for the re oredered stuff that I make. I invite others to use the reodered, we use it differently form the art work we see and interpret in the gallery - as it sits with us, moves in our hands and belongs temporarily to us.
I preoccupoed with what all of the terms I use/refer to so often actually do and mean, they can temporaily present themselves as right and wrong. the container and the contained. But I feel slippery like i want to slip them off my shoulders as they force their determination to claim territory or reason.
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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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