22nd May – Making What I Want To Make

22nd May 2017

 

After several, generally supportive and encouraging tutorials, I feel fairly confident in my instinctive vision for some kind of ‘final piece’ to be exhibited during the summer show. I think I am going to create a landscape of the afore-mentioned objects, as an assemblage or installation of some kind. There are 3 main aims of the work:

 

  • For me to try and ascertain if there is any rationale to these particular objects being interesting for me to build. Are there any similarities in these forms? Am I interested in the objects’ manufacture, or is it an affinity towards the individual forms/types of form that drives me to make these selections?

 

  • To see if these objects (and the way they are displayed) have a connection to a wider audience. Is it the same connection? Are these objects significant to me, or are there wider significances embedded in these objects?

 

  • To develop my crafting and fabrication skills, improve the overall quality of my output and achieve consistency (mastering of skills)

 

There are a few contextual questions I am posing while making (and while presenting) the work; questions I hope to be able to find out, understand in some part or lead to further critical thinking:

 

  • What these objects communicate? Individually? Collectively?
  • Do these objects mean the same thing to other people? To all people?
  • How are objects used to communicate meaning?
  • How does assemblage communicate meaning?
  • (What is meaning? Is it a language? Is it a universal language?)

 

I currently believe that the selection of these objects are likely to be understood by me very differently than to others; my instincts tell me that the selection and creation of certain objects is defined by my own conscious and sub-consciousness, and informed by my own contexts. Thus I hypothesise that while there may be some common ground for like-for-like meanings and significances, I think there is a great deal of personal choice at work within a great number of variables, and therefore the meanings will differ person to person.

 

There have been a number of contexts I have discovered and recommended. Each brings its’ own influence and potential, and these must be considered in order to enrich and give purpose to my investigation:

 

  • Felieke Van Der Leest, jewellery.
    • Playing with familiar forms, deconstructing and reconstructing
    • Applying the recogniseable and familiar to motif and aesthetic
    • Applying playful, toylike qualities to precious jewellery

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