Performative Clay and Gendered notions of Domesticity
- Submitting institution
-
Nottingham Trent University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 41 - 967146
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- N/A
- Open access status
- Out of scope for open access requirements
- Month
- January
- Year
- 2014
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
A - Artistic Research Centre
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The aims of this research enquiry are to inspect ceramics and the ‘Domestic Ornamental’. Selby’s focus was on the object-hood of domestic artifacts and the processes by which these inanimate objects comes to signify narratives around social, cultural and gendered etiquette in the UK. Methods used to explore these enquiries involved rearticulating, remaking and restaging items from the domestic environment, relaying the familiarity and alienation experienced, as one moves physically and psychologically from one home to another.
The work engages primarily with women in Selby’s past and the restrictions they faced in the home. The enquiry was about testing the limitations of clay processes, to help audiences engage with psychological fragility in the home in connection to Selby’s family history. During residencies in America and Germany, Selby examined these themes through the familiarity and alienation experienced as she moved physically and psychologically from one home/country to another. Selby stripped ceramic process back to basics, becoming curious about the origins of porcelain and the stories of families who worked with the medium. She developed a collaborative/ participative process in which her participants began to open up about their family stories, as they were making.
The work was funded by ACE, British Council, INOVA Milwaukee for £8600 in cash and £22,000 in kind. The dissemination of the work has included a solo exhibition at INOVA and as part of The Material World, NCECA annual conference 2014. The latter involved knowledge exchange and skills development, providing a new context for a cultural-political reading of the work. This body of work has led Selby to extend and develop the focus of her ceramic-based enquiry, both conceptually and geographically, connecting it with the historical and contemporary international drugs trade, again drawing from her personal experience. See Prison and Addiction.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -