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Worn: footwear, attachment and affects of wear
No full textIn a culture preoccupied with newness and a fashion system largely predicated upon it, what is the significance of the worn and used garment? What is our attachment to clothes which are marked through use and why do they have the power to affect us so deeply? How are our relationships to clothing produced and maintained through the embodied and bodily practices of wearing, maintenance and repair? Through a focus upon a single garment, the shoe, this book seeks to explore broader questions about the embodied experience of wearing and the affect of the worn. Using anthropological and psychoanalytic theories of attachment, value and exchange, this book investigates wearing as a reciprocal relationship between two agents - the wearer and the worn. It presents an exploration of how, through use, the mass-produced is made unique, and powerful; of the power of the marks of use and wear.
Originating in a practice-based methodology which placed wearing at its centre, this book seeks to explore the outcomes and experiences of wear. Through the process of making, wearing, and photographing shoes Sampson sought to uncover the materiality of our relationships with the things we wear. She presents the act of wearing, the embodied experience of clothing and the body together, as a tool for developing knowledge, of ‘being in’ or ‘being with’ rather than observing from outside. Accompanied by Sampson’s evocative close-up images of worn shoes, this book presents a poetic exploration of the experience of wearing and a call to reconsider the value of the marks of use and wear
Books as Bodies, Bodies as Books
Get PDF'Books as Bodies, Bodies as Books,' a performance-lecture at the Royal College of Physicians, which explored the corporeality of books and the entanglement between the metaphorical, books as bodies of knowledge and experience, and the material, books and prints constituted of actual bodily matter, parchment, leather, blood and hair. Referencing the nature prints of lambs livers exhibited in the Royal College of Physicians, ‘Under the Skin: Anatomy, Art and Identity', the piece enacted ideas around skin tissue as aprons; birthing amulets, matrices, wombs and printing plates; livers as tablets; and parchment and palimpsests, through words, images, actions and materials in collaboration with my own artworks and props, and artefacts from the College of Physicians library collection
Noé Sendas: the shape of things to come
Get PDFA comprehensive edition of the artist's work of the last ten years, with a special focus on assemblage works, namely the Crystal Girls series. Noé Sendas is a multidisciplinary creative mind working with photography, collage, video, sculpture. His very unique style creates a mystical aura in which one, the spectator, has the freedom to interpret.
João Silverio, writer and curator, holds a Master’s Degree in Curatorial Studies from the Fine Arts Faculty of Universidade de Lisbon. Jean Wainwright is an art historian, critic, curator and Andy Warhol scholar. Stephan Klee is an art curator and manager for art associations
The Zwarte Piet Trilogy
No full textIn the Netherlands, the main Christmas celebrations focus around the old-fashioned Saint Nicholas (Sinta Klaas) story as opposed to the more modern Father Christmas myth. Sinta Klaas, patron saint of children, is a tall white man with a long beard and cream coloured robes. He carries a golden staff and arrives in every Dutch city around the middle of November, usually in a boat, and always accompanied by his workers, Zwarte Piets (Black Petes), hundreds of them! On the day, they arrive they pour out of the boats and parade the city, Sinta Klaas on a horse and the Zwarte Piets running behind with sacks of cookies alternately smiling like clowns and then waving their batons with angry faces at the naughty children.
I first saw a Zwarte Piet when I was visiting family, at Christmas time, and was surprised by the extraordinary character before my eyes - a white woman blacked up as a Moorish man - in the UK such traditions have virtually died out and in the US, too. But here I was in the Netherlands at their largest Christmas festival and street was crowded with laughing, dancing blacked up women (and girls) in men’s clothes!
There are many stories that tell why Piet is blacked up but the most dominant one is that he/she is imitating the Moorish servants of the Spanish from the 16th and 17th centuries when they occupied the Lowlands. Once they left and The Netherlands was formed the Dutch continued to celebrate the tradition of Sinta Klaas and Zwarte Piet. Blacking up was the only way, it seemed, to achieve the desired effect.
I have been photographing Zwarte Piet, in a manner that reassembles classical Dutch portrait painting, since 1993 and made my first book and show of the work in 2000 – simply titles Zwarte Piet. Since this first book was published by Black Dog I have been watching the Christmas story in the Netherlands evolve. Mass public demonstration and occasional violent political act has forced Zwarte Piet to change his/her colour and today in most of the big cities you see a range of different colours on their faces. Most predominant is the idea to smudge the black and make it look more like soot. To make this feel real the story behind the character is also being changed and it is now said that Zwarte Piet got his/her colour from coming down the chimney (hence the smudging).
In the essay Bal Masqué, Dutch theorist Mieke Bal talks
about how the images (in the Zwarte Piet series) do more than simply document: that they work through and with the subject opening up new space for debate and thought. Towards the end of this essay Bal notes: “Anna Fox’s photographs, humorous and tender, ironic and identifying, are powerful in the way they offer art as a means to face this need (the need to identify the issue) head on...her images avoid the two most predictable attitudes a project like this might succumb to: the endorsement of reiteration and the moralism of indictment”
Discourse on the re-configuration of craft
Get PDFA series of conferences and publication. In collaboration with Professor Lesley Millar
Papier Skulptural
Get PDFGroup exhibition of works by:
Colin Ardley, Gabriele Basch, Tashi Brauen, Greig Burgoyne, Emil Cimiotti, Goekhan Erdogan, Tom Früchtl, Dorthe Goeden, Monika Grzymala, Eri Kato, Phillip Langer, Ulrike Mohr, Ivo Ringe, Fiene Scharp, Martin Bruno Schmid, Carsten Sievers, Elisabeth Sonneck, Magnus von Stetten, Jutta Steudle, Esther Stocker, Ignacio Uriarte.
Paper frequently serves as a material support for drawing and painting. However, in this exhibition it is presented, above all, in its diverse range of material properties and possibilities of physical transformation. With the use of DIN format print papers, large sheets of paper, rolls of paper, transparent paper, everyday scraps of paper, handmade papers, robust cardboard packing, corrugated and other paper boards, this familiar material exists already in extreme variety. All the more varied are the related actions which transform the conventional flatness of paper into physical presences. This can extend from cautious contact, through to the damaging and destruction of paper, from apparently incidental spontaneous interventions, to repetitive acts. Some in turn follow a spatially related concept or alter the given material in its chemical constituents. By meanings of drawing, printing or painting on the surfaces contradictory trails can be laid down which provoke perceptual irritation. In so much as the use of paper is anchored in all areas of culture, from industrial to everyday use, the artists approach to paper infiltrates and subverts habits of seeing and thinking - in works which are bound by the constant fragility of the material and through complex simplicity of treatment
The Corset and the Hijab. Absence and presence in the 19th and 20th-century Fashion system
Get PDFThe result of an investigation presented at the 14th World Congress of Semiotics (2019), the paper presents the analysis of key historical moments of the corset in England and the hijab in Egypt throughout the 19th and 20th-centuries, with the aim of constructing a parallel, rather than opposition, between the West and the Orient in their feminine techniques and Fashion practices. The work intersects Fashion theory and Structural Semiotics, promoting an examination of fashion as the transit of values and transformations of narrative states which emerge as visual manifestations, determining different forms of interactions between subjects, as well as relations of distance and approximation which overlap with concepts of social class, tradition, religion, and rebellion
Questions (after Brecht)
Get PDFKaren Knorr photographed the building site of the disused Parisian Art-Deco Department store, La Samaritaine, in the summers of 2017 and 2018. In this new book, the resulting photographs, transformed with solarisation and infused with playful fantasy and surrealism are accompanied by lines from Brecht’s poem: Questions from a Worker Who Reads (1935). The book includes an email interview with David Campany
Alienated ambiguity: Hedley Roberts: unknown faces, arch pleasures. An interview on the harsh light of creative vision
No full textThe article discusses Hedley Roberts’ unique style of portraiture, where identities are blurred and ambiguous, exploring themes of alienation and fluidity in human perception. It delves into how Roberts merges abstraction and realism, creating a sense of emotional distance
Modern block printed textiles (working title)
Get PDFAn exhibition of block printed textiles to be held at the Crafts Study Centre in 2019/2020 (dates TBC) that draws primarily on the Crafts Study Centre's own archives, alongside examples from UCA's under-appreciated Textiles Collection.
An associated catalogue/essay will extend the exhibition narrative by placing Modern block printed textiles within modernist and primitivist contextual frameworks and draws on both art discourse and commercial design environments.
An associated authored website will also extend both narrative and material examples
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