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• W978563940 abstract "By investigating the connections between drawing, object and memory, this research projectoperates as an enquiry into processes of transition and transformation, and the significance ofeveryday objects to memory. Through practices of process‐based drawing, I focus on aged domesticobjects to explore relationships between materiality and our awareness of and insights into pastexperience. I approach the drawing and casting of objects as a metaphor for the mental processeswe experience in relation to memory. The project is supported by research into theories of memory,with particular focus on the capacity of memory to shift and change over time, and how the mergingof past and present relates to the creation of new realities.The practical research has resulted in a body of work that consists of a series of photocopy drawings,rubbings and three‐dimensional forms made from liquid latex, wax and tarlatan fabric. Thedevelopment of tangible, delicate forms and imagery reveals alternate approaches in drawing tocreate modified shapes and surfaces of domestic objects. The diverse works reflect the fluctuatingprocesses of memory, evoking new meanings from prior experiences. The works are also anintimate, personal response to the vulnerable materiality of the objects from which they originate.For my practical research I have drawn on a number of philosophical approaches from the followingsources: Edward Casey’s research into the change‐inducing processes of remembering inRemembering: A Phenomenological Study; Paul Ricoeur’s focus on the persistence of enduring tracesin Memory, History, Forgetting; Henri Bergson’s philosophies regarding memory as an embodiedexperience in Matter and Memory; Michael Leyton’s ideas on the importance of shape to memory inSymmetry, Causality, Mind; and Maurice Merleau‐Ponty’s theories on embodied consciousness,touch as sensory surface, and the connection between memory and the material world inPhenomenology of Perception. My study of this material has expanded my approach to drawing andmy perception of an object’s materiality and its connection to the past.The contextual background includes selected works of three artists – Eva Hesse, Giorgio Morandiand Louise Bourgeois. The sculptural paper and latex forms of Hesse’s studio works (1966–1969)express the potential of open‐ended exploration within forms that appear incomplete, and theirsuggestive uncertainty has influenced my experimentation with ambiguity. Giorgio Morandi’sintimate still life paintings and drawings, and particularly his initial treatment of studio objects, havebeen influential in terms of my experimentation with trace and enduring marks. The fabric works of Louise Bourgeois (2000‐2009) are a material expression of autobiographical memory and inspiredmy investigations of material potency in my studio work.This research project expands on theoretical ideas that frame the ambiguous zone of the past andthe present in memory. It emphasises strategies of making aligned with concepts of transformation,intimacy and the ephemeral. The partial and collapsed nature of the works, the use of disparate andyielding materials, and the capacity of the two and three‐dimensional forms to be read as matter intransition demonstrates their potential as catalysts for new form and meaning. The projectacknowledges the everyday object as a valuable referent for the complexities of memory anddomestic items as a source for shape. The innovative application of drawing techniques undertakenwithin the studio research contributes to an ongoing pursuit within contemporary drawing practiceto transform traditional drawing language into new art forms." @default.
• W978563940 created "2016-06-24" @default.
• W978563940 creator A5035912908 @default.
• W978563940 date "2013-11-01" @default.
• W978563940 modified "2023-09-27" @default.
• W978563940 title "Drawing the object-a metaphor for and re-forming of memory" @default.
• W978563940 hasPublicationYear "2013" @default.
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