Presentation of information. hoover bag, dollie, dental alginante, fake ryvita additional shuttlecock. Serving up the ingredients. The piles or arrangements that I am making are with one of my research particaipants in mind. They are the compliations that are shifting and settling. As I have said they are presently without the event of encounetr except for my initial material encounters. These can not be sent and they are difficult to handle but they are forming a catalogue of materials for each person. This is like a 1970's plane meal, or a Sunday afternoon, it is both familiar and yet still and unpalatable. the dental alganate forms a blancmange (smells of mint) and is so wet and cold against the fake ryvita. The materials choice of materials is so important and as I push towards the objecst that they will be sent the materails become almost like puns of each other. The dental gums on the dental alganate - the food that isnt food, the hoover bag as a plate. This to and fro of meanings and matter becomes more dense as the objecst form and the individuals words sit with me. These objects are pit stops in the making and that whilst they might never being used in their physical form by the group they do already belong to them. Their words form the materials that form the objects. I am present, I know my actions but I am cooking for the group. Cooking whilst they go about their business, I am stirring the words and metaphors. I am casting the cardboard forms used for fruit, there is something so blank about these soft forms and slighlty sad they exist and function for the fruit, the 4 apples that fit their cups. Or the twin avocadoes that sit in their cardboard beds. The dollies so dated and gendered, stiff collars, antimacasser, bad curtains, uptight tablecloths. The cast apple form, on the dollie on the salt lick brick - I mentally eat this obect, crunching the salted and medicinal brick with the dollie in my teeth and then swallow the green minted alganate. This reaction or my bodily reaction and activation of the stillest object can confirm or negate the objects appropraieness.
Their is a constant balance between the object and how much space it has. Its affordance and its responsibility to do a little bit more than it should. It has to live for the particiapnt/activator and yet be constantly open to the interpreation of other material stuff, other art work, other meanings. the artwork that has its own brief -this is why I have talked about the objects being operational -are they designed for the person, they are certainly made with the intentionality of another. I feel the rlevance of the material and material as object is increasing in relavance and potency in my research. There are many occasiosn when badiou, Grant Kester, Dennis Atkinson, (for example) state that the event and the enounter are often or are without the object or an object, that the encounter is dialogic and discursive. I would argue that the event is more discursive and more tranforamtive if it is driven by material encounter rather than the thing or object being seen as a diversion or a hinderance in the truth of the encounter. The language is activated by this material provocation. This is of course a simplification that I am exploring and crtically anchoring but the polarisation of the thing and the experience (in terms of an art framework) is tangled.
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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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