Materializing the Self

Materializing the Self was a 2 year project rooted in notions of contradictions, collaboration, ritual, memory, the decorative and process. I embarked on the project when working on my masters in art education at UBC. Materializing the Self recognized that "I is never unified nor stable - it is fragmented, provisional, multiple, in process (Smith, S. 1995) thus, the work is comprised of many parts, where each 'part' or 'object' begins from a found source from nature. These starting points, such as, seed pods, leaves or a pruning from my mothers garden were chosen because of sentimental reason, aesthetic judgment and sometimes, an offering from someone. During this project, the making occurred on a regular basis, reminiscent of a ritual or mediation or perhaps a journal entry. It was in the action of the making that a moment was marked, in a physical, sensual way.

The altering of these found natural objects speaks to process. The process is as significant as the completed parts themselves. I reinterpret the original. In the winding, pinning and embellishing, the object is re-arranged to extend my perceptions to other truths.  

I contradict it's origin. It is through the proposed space and actualizing of a contradiction that I rupture notions about truths, grand narratives and on how one comes to understand. I come to realize that "the lived truth is slippery and contingent", Sumara, 1996, not pre-determined but rather, contingent upon relational engagement and experiences.

Choosing to collaborate with objects from nature, embodies that act of transformation and process that I inquire into. Through decay, shrinkage and decomposition, their nature is constantly shifting, ever evolving and adding another layer to the mix. A metaphor, for the self.

Seriality

In this series I am utilizing a press mould in order to repeat the 3 dimensional, hand scaled object. The intention of the scale and highly textured surface is to invite the viewer to examine each, perhaps as one might examine a found natural source like a peculiar shell or a idiosyncratic fungi form. While this work accumulates through a common form I offer up multiple sensorial experiences in order for the audience member to explore through their visual,auditory, and tactile senses. I am interested in the stimulation of the senses and how perception is affected through a sensorial experience.

The Hand Held Object

The material characteristic of clay informs the work and provides evidence of the human hand, my primary physical tool for making. It is through my relationship with labour, repetition and an obsessive, compulsive desire to decorate and embellish the object,my process is informed and a meaning, constructed.  As is the case in art-making, the process of making is as significant as the finished-object itself. 

Editing a Series

I am fortunate to have artists in my life who look at my work  and offer up the criticality one yearns for during the process of creating new work.  

It was through one of these studio visits that I choose to edit this series and focused my attention on only 2 of the forms.   In a concentrated manner I would explore and expand upon each of these forms in an individual series.