Melbourne Conservatorium of Music - Theses
Permanent URI for this collection
Search Results
1 - 4 of 4
-
ItemCasting an ensemble of objects: producing objects within a post-medium specific 'photographic' logic( 2012)This practice-led research project investigates the potential of an evolving relationship between photography and sculpture. The aim is to expand photographic discourse through the production of a cast ensemble of objects, within a post-medium specific ‘photographic’ logic. That is, a post-medium specific understanding of ‘photography’ that is not solely contingent on a photograph, as a material host, but rather, generative of sculptural objects in relation to images. The paper explicates a series of conditions or relationships, which can be seen as ‘photographic’, based on the photographic mediums facilities to reproduce, copy and multiply – as the principal impetus in not only the production, but also the presentation and perception of objects within the gallery space. A trajectory that originated from correlations made between the sculptural technique of moulding and casting to the technical production of photographic images. A lineage is drawn through a culture of copying pictures and images, commonly associated with appropriation art, and more specifically, the ‘Pictures Generation’, as a means to position the production of cast replica objects within a ‘photographic’ logic. Subsequently, links are made between the presentation and display of ‘sculpture’ within framing mechanisms, which includes the gallery space as a framing device, as a process of ‘image’ production and composition. And lastly, the paper considers our perception of everyday objects, in relation to images of the mind or memories as ‘psychologised objects’. Positioning replica objects as physical ‘ghosts’, which embody the absent object, they were reproduced from – as a conflated object image. The paper contextualises these processes, which form the parameters for the practice-led research, within a theoretical argument, leaving the greater ‘meaning’ of the work open-ended. The exhibition presents a series of recognisably commonplace replica objects, as a cast ensemble of interrelated yet discrete sculptural objects. The works are arranged and displayed predominantly on the floor of the gallery space, or on other objects, which act as host structures for display.
-
ItemBecoming becoming open all-around( 2012)The thesis becoming becoming open all-around argues for a posthumanist and nondeterminate approach towards action as sculpture. It does so to overcome and place out of practice any kind of deterministic force that engenders predetermined rigid forms, processes, concepts, sounds, practices, bodies, meanings, genders, orientations, desires, and the narrowing of agency (possibilities) into a fixed doctrine of action. Through an engagement with the queer/feminist theory of Karen Barad the field for this research is revealed, constituted by a discussion of recent Australian action as sculpture projects by OSW (Open Spatial Workshop), the participatory, instrument-making practices of Franz Erhard Walther and Nathan Gray, and the picturing practice of Gilbert and George. The thesis (consisting of an exhibition and written dissertation) exposes the ways that my practice advances this field, arguing for action as sculpture to take multiple shifts. These shifts include a focus upon imperceptible and nonlinear action and its often unknown consequences, and the assertion that open artistic practices can be grounded by what comes to matter through contact. This grounding of openness consists of a swarming of relations and connections as the orientating forces of the work of art (rather than discreet, intentional artists/works) – constantly redistributing what matters. This compels a nonanthropocentric approach which, rather than trying to ignite nonanthropocentric modes of action by separating the ‘human’ from it, tries to vitalise the possibilities of a posthumanist approach to action which repositions the ‘human’ and ‘nonhuman’ as differential, dispersive and entangled; and, wholeheartedly restores bodies as flesh of the world. This writing details some of my projects, each constituted by a changing set of materials, instruments, people, pictures, relations and connections. In arguing for open practice, a two-sided position is taken: all action comes to matter/not all action comes to matter. These changing sets of inclusions/exclusions aim to both open all-around in the improvisation of unexpected action and to ground open practice in the particular relations and connections produced by such an openness. A main concern involved in this practice is the latent consequences of its activity, compelling art practice to spill into a mode of knowing in becoming, entangled within the ethicality of the world – as the world becomes thoughtful and the ‘human’ becomes worldly.
-
ItemPebbles, shattered glass, plastic, metal & dried grass: a research project on ritual action, experience & the everyday( 2012)This masters thesis is a reflection on two years of making, playing, walking, talking, looking and reading. I address the question: “How can I develop a project that encompasses daily activities and rituals, recognises minor phenomena, brings me into an encounter with people, objects and animals and that frames lived experience?” In addressing this question I define the artistic process as both a method of framing and as the creation of the new, a force which effects my experience of the everyday. This is influenced by the writings of Elizabeth Grosz. In my project, I employ daily rituals as a means of encountering subjects for my work. Walking is a primary strategy I use in collecting objects, images and events. I describe my methods of framing as a shifting, searching process. I describe activities and works where I have incorporated conversation into my methodology - using formal meetings as a way to create potential accidents and alliances with others. I discuss the text Profanations by Giorgio Agamben and weave it in to many aspects of my argument. In particular I relate his notion of play to my process of sculpture and performance making. I draw links from the works of Alexander Calder, Richard Serra and Gabriel Orozco to the strategies of my own project. In particular, I respond to Calder’s lightness of forms and Orozco’s engagement with transitory moments in urban/suburban environments. This document augments the presentation of my creative work. This work is an installation of materials combined from the broad-ranging activities I engaged in during the project. It includes a configuration of videos of actions and encounters, and sculptures made from steel, glass, wood and generated from material collections. It also combines elements of a more arbitrary nature, like text, photographic works and other residue from the project.
-
ItemNoumenal secrecy: transference of dislocated acts of possession( 2012)In this paper, associations with philosophical arguments, critical design theories, meta-fictional discourses, and experimental publishing houses are drawn into a platform where suspension of disbelief is required to systematise the recording of data, speculations, and psychical transference. So as to actively engage with discourses of Otherness and transmutate the boundaries between objective chance and chaos; validity and hoax are no longer in the equation, tricksters are for hire. Both, the conceptual and material research is focused on the shift from interference and noise dialectics onto transference of fictional speculations that create the corpus and the annunciation of noumenal performance presence. It originates within the invocation of the exogenic agencies and its consummation is offered through ensembles that involve electronics, sound, digital media and design elements. Does this methodological platform of exchange and praxis, solely work as fiction for believers, or does an act or event offer potentialities for further engagement?