The following document is part of one of the tasks given to us during this module. It marks an articulation of my aims and objectives. As discovered through writing the previous few posts – I am an inductive, practice-led researcher and as such the method follows an un-prescribed step-by-step approach.
I am most fascinated by the incidental nature of process (meaning process in the studio, process in research or even logistical process) which makes this task quite difficult. The best ideas in my work, and life, have come when I have released control (which I try enormously to hold on too) and I am loath to attempt to unpick things too much or go against a process that works.
Simply put – The thread of relevance and focus will be simple to follow retrospectively but is difficult to predict due to the organic nature of the process itself.
Having said that this is the most articulate this document has become at the moment. I may revisit this text in a later post, mid-research.
The objectives align to the diagrams in the previous post, but are not ruled by them.
My interest lies in the incidental process in art and the nomination and understanding of art and the space it occupies.
By investigating traditional ‘rules’, processes and materials I aim to identify elements that can be practically subverted or skewed to encourage new conversations between material, viewer and space.
I plan to adopt a methodical objectivist approach to literary research combined with practical investigations into the ontological reality of artistic practice, forming a inductive, bifurcated method. I am a practice-led researcher and practitioner. With a methodical deconstruction of ideas, I aim to explore our understanding, and perception of art.
- Deconstruct canvas, physically and in concept. Comparing the reality of the object with it's primary function.
- Investigate traditional methods, process and materials, to identify areas of interest
- Sub-question - Investigate the ‘space’ of art (i.e: the gallery or other curated setting) and it's function regarding the reading of art as art. (Because it's only through the gallery that nomination can serve as process)
- Investigate the role of the viewer/onlooker in art.
- Sub-question - Explore Derrida’s theory of the ‘parergon’ to better understand the concept and purpose of the frame in art and it's implications on the space and interpretation of art.
- investigate theory surrounding the loss of control (and control in general)
- Investigate the notion of nomination as process.
No bibliography for this post
Next post - Time to get down to some actual research, rather than just thinking about thinking! Next post is Derrida, and his theories about the frame.