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ItemThe seam: from/of construction to deconstructionCibis, Remie ( 2017)The seam is the principal construction technique employed by the contemporary fashion industry. It produces both garments and, in turn, the semiotic or fashioned body. The implications of the semiotic relationship - between clothes and bodies - are however largely obscured by fashion, which secrets the seam away inside the garment. As such, fashion is often considered under-coded compared to other semiotic systems, such as images or text. In contrast, this research seeks to both comprehend and reconsider the semiotics of the seam by drawing upon the notions of blindness and deconstruction in the work of Jacques Derrida. This deconstructive understanding of the seam is used to inform a close reading of Roland Barthes’ The Fashion System that makes visible the implicit signification of the garment within the text. Furthermore, these notions are explored through fashion practice in the form of clothing which itself makes visible the obscured signification of the seam and reconsiders the garment’s relationship to the body.
ItemThe untranslatable, a poetic placeShindo, Utako ( 2017)This research project is concerned with ‘the untranslatable', which I identify as that which, in art, resists translation into everyday language yet touches me lovingly and truthfully. Through a manner of ‘poetic translation’ that is experiential and reflective as well as semantic and material, and by questioning how an artwork can embody the untranslatable, the project develops concepts to think about the untranslatable and to articulate its presence within an installation artwork that allows for new meanings to enter through audiences’ engagement with the work. Informed by philosophical, theoretical and artistic works that share concerns with the oppositional and draw our awareness towards neutral, subtle and nuanced appearances and understandings of the world, the research investigates the poetic works of art that liberate and provoke our perception and sense of being in this life-world. The research is undertaken through my experiencing and reflecting on these elements: my grandmother’s poetic enunciation about Mt. Aso, shifting shadows of an acrylic cube (a remnant), and Jacques Derrida’s interpretation of chora and ma as a place for ranslation/transference, which is untranslatable. This process, which in turn draws resonant voices from various disciplines, not limited to either Western or Eastern knowledge, to ancient or contemporary time, to one side or one sex, is manifested in my art-making and thesis writing; my artworks inspire and test my thesis, together investigating these five key concepts: ‘Pure Language’, the ‘Poetic’, ‘Shadow’, ‘Transference’ and ‘Embodiment’. As anyone struggles with that which resists translation in art, The Untranslatable, a Poetic Place, is written for both artists and audiences. Within the context of this thesis, ‘the untranslatable’ can be best defined as the life that drifts as it metamorphoses and transforms our experience in and reflection on the world in a more rich and poetic manner. As it ‘transfers’ in variant ways, it can only be embodied temporarily by the poetic work of art; in a poetic language that contains ‘fertile silence’, an architectural body that internalises emptiness/hollowness, or an enduring form of love that longs for motherhood. This embodiment is perceived and experienced as ‘shadow light’ (as truthful, an aid to knowledge) that shifts; an ambiguous image that shimmers; a nuance of love that trembles; or a poetic place that opens.
ItemThe telepathy projectKENT, VERONICA ( 2012)The thesis comprises two interrelated parts: An exhibition of artwork generated by and in response to telepathic prompts and processes, including telepathic events made with people from around the world at varying physical distances and degrees of intimacy. These attempts/events manifest as curatorial projects, performances, conversations, lectures, photographic tableaux, drawings, paintings, dream interventions and group wall drawings. The second part of the thesis comprises a written dissertation that responds to and expands on the practice led research by introducing a range of thinkers, writers and artists who approach telepathy in their work. In particular it is concerned with the ways Sigmund Freud and Jacques Derrida apprehended and deployed telepathy in their writing. The text proceeds via a logic of association and assemblage – a telepathic writing – finding its precedent in Derrida’s Telepathe. Emerging out of this research is a discussion and performance of some of the anxieties generated in the practice and contained in the literature and current knowledge surrounding the questions telepathy poses for subjectivity, interpretation and meaning making. This has been achieved by shifting some of the questions telepathy posed to Freud and Derrida et al. to a contemporary art practice. This shift has allowed new nuances in the discourse around telepathy to emerge and it is this that comprises the research’s original contribution to knowledge.