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- Title of Exhibit Proposal:
Knowledge, certainty and ignorance (Ref #215)
- Date:
- 26-10-2006 13:57:14
- Status:
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Unsuccessful
- Rating:
- 4
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Details:
- What is skill? How do we measure it? Why do we value it? Can we value it if we can?t define it? Is it always good? Do we really want to get better at what we do?
This exhibition will present a sequence of artworks, via a process that has been devised to try and illuminate the above questions by exposing some of the more elusive aspects of Fine Art practice. The artists selected all admit an interest in thinking through making and engaging with notions of skill as core to their practice. Although they share this common thread they will each find their own way to engage with the project.
METHOD
Over a period of time the participants will make the same artwork a set number of times. Each time the artwork is completed it will be packed away and held by the project coordinator. Only at the exhibition will all the artwork be revealed together in their series to reveal the relative movement and development, which resulted from repetitive behaviour over time.
A set of restrictions or variables will be set by each artist. It is envisaged that the selection of these restrictions will enable each artist to navigate through the project in a personal way. The variables and restrictions are flexible to allow each participant to consider what related areas of their practice they wish to use the process to illuminate. Some will include reflection during the process some reflection after the process. Some will be given and some negotiated.
The participants are aligned to the Challenging Craft research group at Gray?s School of Art.
Lennox Dunbar, Course Leader in Printmaking.
Most recent work deals with the ideas that explore or relate to the idea of worth ? what were once precious or cherished objects can easily be discarded or neglected and through time and rediscovery be reviewed or analysed with fresh curiosity and take on a renewed significance.
Michael Agnew, lecturer in Printmaking.
His outputs are balanced in a multi-layered clarity between the simplicity of images and the complexity of their context. He believes in the balance and harmony between construction, surface, narrative and draughtsmanship.
Allan Watson, Course Leader in Sculpture.
The thinking and doing involved in making three dimensional form has always intrigued him due to the tension created between intuitive decision-making and rational planning. He is curious about the notion of ?craftsmanship? and ?expertise? and to what extent they impact upon the parameters of thought and action: does experience and ability define, restrain or empower the artist?
Craig Ellis, Programme Director Fine Art.
Language interests him, especially linguistic catergorisation and the definition of differences between similar things. For some time elements of his work have explored the way this use of language relates to the way we perceive and experience our environment and communicate within it. Through working in scale models the process of making has produced a series of issues that may, or may not be related: The relationship between object, skill and reality. The relationship between simulation and reality. The gap between sign and signifier. Scale, perception, communication and gender related play.
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Images: (Click on the image to view it full size in a new browser window)
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Reviewer Comments: