ONDERZOEKERS FRAME MAD:

Ode de Kort
Eleanor Duffin
Patricia Domingues
Griet Moors
Ellen Schroven
Nadia Sels
Arne De Winde
Kris Nauwelaerts
Geoffrey Brusatto
Stan Hendrickx
Peter Snowdon
Carla Swerts
Patrick Ceyssens
Tom Lambeens
Sofie Gielis

ONDERZOEKERS FRAME ARCK:

Maria Gil Ulldemolins
Saidja Heynickx
Remco Roes
Kris Pint

PROJECTEN

IMPACT
(Sofie Gielis & Patrick Ceyssens)
Eleanor Duffin

Elasticity of Meaning; Material as a Co-Worker Abstract

                   

With the birth of the mechanical age, we have moved closer to a sense of dematerialisation, through occupying worlds that are virtual. This sensation has become our default setting for how we occupy the embodied physical world. We exist in duality/parallel to ourselves, as the embodied and disembodied self. The same may be said about artworks which are disseminated both in physical exhibitions and digital platforms. Much dialogue is being generated at present, which speaks of traces from the digital world and the way in which we navigate it, creeping in seamlessly to the tangible physical realm, either in the form of physical artifacts or systems of operating. Alongside this, there exists another dialogue which focuses on materiality. This is echoed in a return to object based art work, which has seen a resurgence in the past number of years, and highlights artists’ practice whose work is materially lead, yet encompass the nature of plurality, operating in facets that are both virtual and tangible. Mostly this dialogue is being generated by thinkers, through text based language, who are disconnected from the phenomenology of making. Whilst the conversation generated under these terms is rich and highly relevant, there seems to be an absence of the voice of the maker, for whom everyday materials are the stuff through which they navigate an understanding of the world.

                   

What I propose to observe, through a practice based research project is, if through the process of making, positioning materials as the protagonist, is it possible to generate new meaning and understanding of materials, that acknowledge the history of the mechanical age yet return us to a position that may have dissipated during this time? Is it possible to move from an anthropocentric position to consider materials as co-workers, so to enable our conscious rediscovers matter in order to feel more connectives, not to a network of other humans, but a connectivity that binds us as much to a rock or water as it does to each other? I intend to follow this line of investigation by intervening with materials themselves, in the process of making, where understanding is generated through the formation of artworks. Where artworks give rise to conversation concerning material, through the actual material matter itself.