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- Title of Abstract:
Blurring Across Fields - Siting the Maker (Ref #143)
- Date:
- 01-10-2006 02:52:16
- Status:
-
Accepted with revisions
- Rating:
- 7
-
Details:
Abstract:
Blurring Across Fields - Siting the Maker
Within craft traditions, pursuing and accomplishing technical feats are present. The technical aspect of how one physically makes - although that topic is a seductive one - is not the essential discussion of this paper. The discussion is centered on interpreting work through the originating sites within the maker of their processes and ideation with materials that ebb and flow in and out of media location. It is very important to give incredible value to the specialized skills of the crafts field, but alongside of this, one must be able to speak so fluently in making that the technical feats accomplished in the work become invisible - allowing the impact of the work to emerge and speak all on its own. Having said this, how often is the surrounding space for work in the crafts considered? The environment the work is placed within becomes part of the work, and is a factor in how one comes to understand, decode, and interpret the work.
Sculpture often is experienced by the viewer as outside and separate from the individual body - as something to observe ? an external experience to potentially become engaged with. When worn, contemporary jewellery and body adornment are experienced in a different way - starting from the wearers/viewers internal choices to display the objects, clothing, or surface. This activity is then expressed and viewed in a public manner on the body itself. The maker of these activities, both sculpture for the environment/space, and jewellery intended for the body, often have similar starting points in working within these formats ? both having an internal desire to create and express content through work that is physically external from themselves. The outcomes of a sculpture practice and a jewellery and object practice converge and diverge based on scale and context, although they speak a very similar language. A strong space in the middle is emanating from makers presently - work is being made that is contextualized and sited in either place, sometimes concurrently. Where does the classification of where sculpture ends and adornment begins exist? More importantly - does it truly need to exist within the maker?
Reviewer Comments: