The relationship with the clay handfuls was very differnet to the objects that were chosen in the space and taken around the gallery collection. The first objects had been discussed in terms of their interpretation between the pairs of participants - narratives formed through the objects and because of the objects. Links were made in the spaces but also dismissed and passed as too simple and obvious as if the material, form or scale resembled too closely the object they chose from the ones I had made. The clay handfuls however were different, they were singular and multiple- echoing each partcipants handful yet formed individually. The participants had voiced an immediate responsibility to the form as my statement that they could keep it if they wished became weighted with importance and investment for them. There was a slight ceremony of the unwrapping of the forms that held the suspence and expectation of what was about to be revealed. Conversations were internal and between the participant and the object -the simple form. the clay shapes were less complex than the other objects that I had brought that day, they were an action solidified but initimate and personal. Caroline said that as she held it she was so aware of the maker, the makers hand and the makers action. She felt that it was like having part of the maker within the object now in her hands. Caroline James
Bayley
0 Comments
Leave a Reply. |
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
Categories |