“Magic
Out of The Ordinary”1
The world is ready
to be engaged with. Throughthe continuous experimentation with objects of
everyday life, I have discovered their ability to transcend out of their
original state, pushing boundaries and ideas beyond them. My practice and
investigation of the everyday is in a constant state of flux, continuously
switching between the intensity and fragility of hand crafted installations,
and the potential of simple everyday materials.
By bringing everyday objects into conversation with the viewer, their
environment and other specifically selected materials,I am forcing the viewer
to reassess elements of the everyday that have been displaced from their
original state.
I have a growing interest in experimenting
with the rawness of materials. I am fascinated in exposing the characteristics
of these mundaneeveryday objects through the use of line, temporary
installations and exploring their rhythm and materiality. My practice has an
underlying reference to female craft. I do not wish to focus solely on the
delicate history of feminine craft, but rather generate conversation about my
interaction and manipulation of the everyday to further understand the material qualities of selected objects.
Through paying special attention to the everyday I have focused on the
importance of innovation and following my intuition to push the boundaries between
the everyday and art. Artist AnuTuominen says, “Everything is still as it was
and yet somehow more meaningful than before.”2 I will continue to
play with the idea of simple manipulation, or total transformation of these
objects to consume their original purpose in the everyday, and attempt to
heighten their authority as now being considered ‘art.’ The critical theorist
TheadorAdorno stated that “if the use value of things dies,” these alienated
hollowed-out objects can come to be charged with new subjectivity. While the
things become “images” of subjective intentions, this does not erase their
thingness: dialectical images remain montages, constellations of alienated
things and meaning.”3
(After discussing my practice with the lecturers in my mid year assessment one comment that was passed was how this quote by theorist Theador Adorno did not qute fit in with my ideas. Mon J noted that in my practice the use value of these things has not died, but instead I as an artist take these objects through a transition stage where they gain a new purpose, talk about new ideas, and gain value through labour and time. These small transformations are the key to my practice, looking specifically at repeated gestures over time for effect and transforming the purpose of everyday items that connect witht the viewer in different ways bring about new ideas beyond their origional state depending on how the viwer relates to this new representation of a familiar mundane element of the everyday.)
The investment of time and labour is very dominant in my practise, allowing
me to further explore the additional value that these qualities provide for my
works. I am interested in the artist’s ability to give everyday objects a new
life where they can make connections beyond the everyday and create “magic out
of the ordinary.”4
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