Within the gallery the individuals puncture the space not with violence but with intent. They move differently, look differently and act out -play up amongst the other things.
They become the stitches and connect with work and the building with others - with an awareness that they might be connecting differently than assumed. They extend a few centimeters more than they should, their voice maybe a decibel louder, their actions a little more exaggerated. They heat up the space and fill it even if outnumbered by others -they matter in the space - they are more than present, they inhabit and claim. The stitches map across a space show the movement of the other side. They are the underside - quiet mapping that leaves a resonating mark in the space - I see it and feel it as I observe - and they hover and land. The territory is fleetingly theirs although no one else is aware of that, they claim the space and move on, a little like a dog who might wee on a tree - a bin - a patch of land and name that territory as theirs - or at least that they have been there already. The stitch is equally a puncture and a bind. It mends and produces something new as it creates tiny potholes in the page. A connection of sorts. Interestingly this links directly to the double sleeve - which allowed Jo the ability to push her hand through the image through the gallery, through the space of the drawing. As Jo discussed the sleeve/drawing on her arm she became more physical-she stood up, moved her arm and kicked towards the boundary around the sculpture in front of her. She was reaching through the object but the objects was a conduit - a method of thinking and enabled her actions to be valid, meaningful - licensed. The object gave her permission to become an exaggerated version of herself, like a puppet and puppeteer in one encounter. It seems relevant that Deleuze and Guattari play with the analogy of puppeteer and puppet within their writing (1987) Howver here it felt as though Jo was herself both the object played her and she played it and so the exchange became seamless and rather than puppets THEY (jo and the object) became an instrumnet all of their own. Possibly musical.
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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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