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Inaugural Vlieseline Fine Art Textiles Award Exhibition (from the research project Locus of the Dress)
Get PDFSupported by a collaboration with clinical psychologist Dr. Hermina Hernaiz ‘Locus of the Dress’ explores the construction of the ‘self’ through a textile investigation of Julian Rotter’s psychological theory ‘Locus of Control’ by analysing and identifying characteristics of the internal and external landscapes of a dress, its zones of psychogeography.
The project presents a new paradigm of Rotter’s theory, establishing two landscapes of the dress form (external surface, outward facing, projection to, reflection of, the world and internal surface, an intimate space, receptacle for private reflections), played out through a series of repetitive drawings and photographs, resulting in an innovative body of textile based mixed-media artefacts presented in a fine art context.
2 locations represent the ‘dress’ landscapes, poles of the theory. Firstly, Ohio, USA, focusing on the 1974 Tornado ‘Super-Outbreak’ documented through heavy graphite drawing. The second, the sublime tidal sea-pools of the Thanetian Coast, photographically fused to the inside surface of the ‘dress’.
Goldsmith’s work is distinctive in presenting a psychological theory, an opportunity for self-reflection (access to psychological knowledge) and emotional growth though new textile expression. Extensive experimentation in dye-sublimation has yielded new insights and material insights. What new understanding arises from exploring psychology through contemporary textiles practice, clothing as a receptacle and communicator of our sense of self and the dress as a place we inhabit, physically and psychologically?
Goldsmith was invited to present this work in a seminar at the Tate Modern. The research is documented in two publications/essays (1) Goldsmith/Dr. Herminia Hernaiz, (2) Dr. Victoria Kelley. The work has been curated in international exhibitions, Axis Contemporary online exhibition and published. In 2019 it was shortlisted for the inaugural Vlieseline Fine Art Textiles Award and to coincide with the Turner Prize at Turner Contemporary, the solo exhibition ‘Dresses for Giants’, is presented in Thanet Oct 19
Notes on Painting II
Get PDFNew series of work 'painting index' developed for Notes on Painting II a group show at Koppel Project Central, London, curated by Amelia Bowles and Antoine Langenieux-Villard.
Exhibiting artists: Amelia Bowles, Hugo Capron, Moyra Derby, Tom Hackney, Jost Münster, Antoine Langenieux-Villard
Kes Richardson, Finbar Ward
Becoming with Wheat (and Other More-Than-Human Others)
Get PDFAt a workshop at the Making SPAce: Sociology, Philosophy and Anthropology student post-graduate research conference at the University of Exeter, I shared my ongoing project, ‘Becoming with Wheat (and Other More-Than-Human Others)’ which explores our companioning with wheat as well as the other human and more-than-human entities that are entangled within this relationship.
In the session, I read a short paper contextualising the project and where I shared some of the outcomes and materials experiments from the ongoing cultivation, observation, filming, photographing, anthotype making, etching, wheat weaving, performance, writing, cooking and eating of wheat. We then enacted, experienced and materially investigated some of the theoretical ideas discussed through a bread making activity where participants kneaded and shaped the dough to make breads which talked of their entangled relationship with wheat. I also shared a loaf of bread made especially for the occasion, my Focaccia-style lozenge-sown field bread 'sown' with sprouted wheat germ which we ingested to collapse the boundaries between us, the thresholds between land, food, and the body, via the digestive system.
Drawing on the emerging arena of multispecies ethnography, where notions of our relational and entangled relationships with non-human others is unfolding the grip of anthropocentrism, I refer to Donna Haraway’s notion of ‘companions species’. Wheat has been our companion species since our ancestors in the Near East domesticated grass-derived crops the oldest cereals, about 10-12,000 years ago. Anna Tsing calls it a ‘love affair […] one of the great romances of human history [where] people transferred their affection from multi-species landscapes to shower intimacy upon one or two particular crops’ (Tsing, 2012: 145).
At the intimate romantic dinner or on the kitchen table around the world, wheat is often present. And ‘whether we know how to eat well or not’, Haraway reminds us, ‘human and nonhuman animals are companion species, messmates at table, eating together’ (Haraway, 2008: 301). In ‘Becoming with Wheat…’, I propose that we extend to and embrace the more-than-human vegetal of wheat, especially since companioning is bound up in the root of the word ‘companion’, from the Latin, cum panis, meaning, ‘with bread’ (Haraway, 2016: 11).
References:
Haraway, Donna (2008) When Species Meet. Minneapolis: University of Minnesota Press.
Haraway, Donna (2016) Staying with the Trouble: Making Kin in the Chthulucene. Durham: Duke University Press.
Tsing, Anna (2012) ‘Unruly Edges: Mushrooms as Companion Species for Donna Haraway’ Environmental Humanities (1) pp. 141-154 https://doi.org/10.1215/22011919-361001
Spatial Mutuality Symposium
No full textSpatial mobilities of people and materials are emerging as important political and cultural issues (of our time). These mobilities may be related to conflicts, urbanisation, material resource extraction and the pressure of economic inequalities of North and South (all of or in any combination of the above). The work of artists in researching and collecting narratives and accounts of migration, uncovering material processes, and charting urban change is crucial in making our world of spatial mutuality visible
here.here 1
Get PDFThe here.here concert series is an ongoing internal and external research led collaboration around multimodal compositional strategies and ways to experience technology in text / music / film / performances
Haptic aesthetics and bodily properties of Ori Gersht's digital art: a behavioral and eye-tracking study
Get PDFExperimental aesthetics has shed light on the involvement of pre-motor areas in the perception of abstract art. However, the contribution of texture perception to aesthetic experience is still understudied. We hypothesized that digital screen-based art, despite its immateriality, might suggest potential sensorimotor stimulation. Original born-digital works of art were selected and manipulated by the artist himself. Five behavioral parameters: Beauty, Liking, Touch, Proximity, and Movement, were investigated under four experimental conditions: Resolution (high/low), and Magnitude (Entire image/detail). These were expected to modulate the quantity of material and textural information afforded by the image. While the Detail condition afforded less content-related information, our results show that it augmented the image’s haptic appeal. High Resolution improved the haptic and aesthetic properties of the images. Furthermore, aesthetic ratings positively correlated with sensorimotor ratings. Our results demonstrate a strict relation between the aesthetic and sensorimotor/haptic qualities of the images, empirically establishing a relationship between beholders’ bodily involvement and their aesthetic judgment of visual works of art. In addition, we found that beholders’ oculomotor behavior is selectively modulated by the perceptual manipulations being performed. The eye-tracking results indicate that the observation of the Entire, original images is the only condition in which the latency of the first fixation is shorter when participants gaze to the left side of the images. These results thus demonstrate the existence of a left-side bias during the observation of digital works of art, in particular, while participants are observing their original version
Eroded light: the photographs of Christopher Wool
No full textThe 5,000 word chapter will investigate the significance of the relationships between the painter Christopher Wool’s black and white photographs of New York and his work as a painter of the urban
Beyond a digital écriture féminine: cyberfeminism and experimental computer animation
Get PDFIn the 1990s, Sadie Plant declared in Zeros and Ones (1998) that the future would be female since women were ideally suited to working with information technology. However, the numbers of women working in digital technology today remain disproportionately low compared to the population overall. Whatever happened to cyberfeminism?
From the pioneers of the 1970s, the cyberfeminists of the 1990s and today’s intersectional post-cyberfeminists, radical artists have argued for the use of digital technology to critique, subvert, innovate and deliver social change. This chapter aims to re-evaulate the experimental practice of cyberfeminist artists and its relevance for contemporary practitioners. What does it mean for women to experiment in computer animation? Can digital techniques be used as a new form of language to represent the voices of those who are not normally heard in the mainstream?
The chapter draws upon first-hand interviews, archival and historical literature review. Lillian F. Schwartz, Rebecca Allen and Vibeke Sorenson are presented as artist pioneers of computer animation in the 1970s and 1980s who advanced feminist ideas in male-dominated environments. Cyberfeminist discourses of the 1990s from Sadie Plant, VNX Matrix, Linda Dement and others then blended radical, post-structuralist French feminism with utopian ideas about the revolutionary potential of ‘new media’ for the creation of new, virtual worlds and the transformation of gender relationships. These ideas were subsequently accused of techno-naivity, essentialism and exclusivity. In the 21st century, post-cyberfeminist discourses are now re-emerging through xenofeminism, Afrofuturism and glitch feminism. The chapter concludes that inequality can be seen as hard wired into the very code of the technologies we take for granted due to the language used and assumptions programmed into them by the people who created them, and therefore, it is vitally important to ensure that a diverse range of people are inspired to work with technology
Our Palace of Intestines: an art project-in-progress
Get PDF'Our Palace of the Intestines' was the final part of a workshop, 'Extispicy in the Everyday: An Exploration of Human-Environment Binaries through the Gut', delivered at the 9th Society of Artistic Research conference, "Artistic Research Eats Itself" at the University of Plymouth, England, on April 11, 2018. It performs multiple acts of inter-embodiment and engages with live audience-participants
Spatial Cinema
Get PDFThis Blu-ray/DVD collects many years of artists film practice (2002 –18) and consolidates it as a Spatial Cinema. The potential on this disc media platform for paratexts was explored by commissioning contributions from other researchers responding to the work as commentaries and an included 4000 word essay
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