Bridging the Divide: In Conversation Between Practice and Theory

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Bridging the Divide: In Conversation Between Practice and Theory

Dr. Natasha Mayo PRO

An exploration of the exhibition space as a site or opportunity for discussion and debate:

The relationship between art practice and film can be a vital and powerful tool for the learning and teaching of art, one discipline reinforcing the creative…


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An exploration of the exhibition space as a site or opportunity for discussion and debate:

The relationship between art practice and film can be a vital and powerful tool for the learning and teaching of art, one discipline reinforcing the creative capacity of the other. Art provides the imagery, the making tangible, giving form to ideas and film offers a means of identifying with this process.

However, beyond mere documentation of what has happened, film can also enable a re-activation of the happening itself, imbued with the emotion of the moment of its telling. It allows thought to be experienced as a succession of unfolding events; recording connections and associations made and the consequence of their interaction.

The films contained on this channel include:
Claire Curneen’s exhibition 'Passages' discussed through the mode of 'in- conversation' between the artist and writer Dr. Natasha Mayo. The work and its curation are discussed from some of the key critical positions used in the analysis of art to demonstrate the different types of information each approach can uncover about an artwork.

In Conversation Between Dawn Youll, Lowri Davies and Natasha Mayo about the Exhibition 'Placement' 2011 For more information on this exhibition please visit: placementceramicconnections.wordpress.com

Shout Box

  • Dr. Natasha Mayo

    Passage - catalogue introduction Dr natasha Mayo 2010
    Curneen's ceramic figures inhabit the space between representation and expression. We observe the proportions of the body, gesture and certain detail of the features but their narrative is most richly embellished by the properties of the material, its symbolism, its tactility and its proximity to qualities of flesh and skin. Curneen uses the skin as a metaphor, as a site onto which she projects the potential thoughts and feelings of her figures.
    In her earlier depictions of martyres and saints, where bodies enact their fate, it is the surface that exposes the consequence of their actions; it is the shards of porcelain skin that reveal their humanity. the predicament is externalized, and as the body splinters and indents, as if in response to the struggle between material and spiritual, they are rendered undone, they dissolve. the figures serve to remind us of the skin as our first point of contact with the world; that it is through skin we touch and our touched in return.
    the abundant sensations of the flesh are most fully expressed through the terracotta figures, in some works almost to the point of physical seduction. the gold lustre spills over warm toned skin making visible that heightened moment when blood floods to its outer most layers and we shiver or blush. their surface explores the way skin can take over our body in conveying emotion before we are consciously aware of it. these figures are stained with that expression of release.
    So as you observe Curneen's figures and explore their material values, consider the possible sensation of their surface if placed in relation to your own skin. only then will you gain access to the potencyof her narrative as it extends so far beyond mere representation of the body.

    by Dr. Natasha Mayo

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