BA (Hons) Ceramics 2004 |
 |
||
Jennifer Hamilton Tel 07779 281702 |
The purpose of my exploration is to bring to the attention domestic objects that are familiar and generally overlooked through their continuous use. For this reason I have chosen to focus on still life compositions and the way in which they transform inanimate commonplace objects into objects of desire. This is achieved through the objects’ perceived uselessness, change of context and relations to the other surrounding objects. It is the juxtaposition between the real and the unreal, the accessible and the desirable, that allow the still life to be subject to adventurous visual interpretations. I have selected three different mediums to explore the still life; photography, collage and ceramic. These mediums are to be viewed in three different perspectives; the 2D (the back view), the shadow (the in-between) and the 3D (the front view). The viewer is intended to observe all three mediums on the same plain as they transform from one perspective to the other finally resolving into their entity. The collage represents the 2D, the inaccessible, whilst the ceramic depicts the 3D, the real, and the photography symbolizes the shadow which merges the two dimensions, allowing one to mimic the other. “The still life is an evolving system of representation and of meaning, directly related to the transformations of society and of artistic discourse. It addresses certain positions a society maintains in relations to its objects: realities, fantasies, and desires. Similarly, it transcribes the manner in which the art deals with these truths or untruths – the way the artist reinvents a visual language specifically keyed to their implementation.” Margit Rowell, ‘Objects of Desire, the Modern Still Life.’ |
|
 |
“The work loses its meaning as a work as soon as we neglect
or ignore the aesthetic object which it can be.” Mikel Dufrene, ‘The
Phenomenology of Aesthetic Experience’.
|
 |