Blow in. Exhibition of 12 thematically connected artworks in cast concrete and hand carved plastic
- Submitting institution
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University of Wales Trinity Saint David / Prifysgol Cymru Y Drindod Dewi Sant
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32-AD1
- Type
- M - Exhibition
- Venue(s)
- Aldama Fabre Gallery, Bilbao, Spain; Museo Marítimo Ria de Bilbao; Glynn Vivian Art Gallery, Swansea, Wales; Gazelli Art House, London.
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- May
- Year of first exhibition
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- ‘Blow In’ investigates our haptic engagement with objects where the exploration of the simulacra (Baudrillard) can be seen in the body of work ‘like swimming’ in which concrete cast replicas of swimming pool floats are indexical of the atavistic space of the swimming pool. A unique place in the world (itself a simulacra), where images are prohibited and marks and interactions left on the floats speak of a physical engagement and all-consuming sensorial experience. The work began as a working collaboration with curator Emma Kelly, Eugenia Griffero and Maria Grazia de Pedro from Aldama Fabre Gallery, Bilbao. A new body of sculptural work took shape through a close technical relationship with material specialists Notcutt and through collaboration with a municipal swimming pool in Battersea, London. Collaboration with Peter Welsh, a netsuke carver in Devon opened possibilities of using a new working process and material, permafrost horn (a ‘pre-plastic’ plastic). The physical research was carried out through inhabiting the space and understanding the subtleties of the arrangements of objects. The work is situated philosophically to ‘visual tactility’ explored by Barthes, Merleau-Ponty’s phenomenological explorations of the body and environment and the alternative origin philosophy championed by Morgan as the “Aquatic Ape Hypothesis”. The work was installed on ‘La Carola’. A collaged video work ‘hold down’, integrates sourced go-pro footage filmed ‘off’ the coast of Bilbao synthesised short clips of recreational water users to build an experience otherwise unattainable by the human body. The colloquial term ‘blow in’ (a person who moves in and inhabits and space short term, and then leaves) was used as an overarching theme. Dissemination: ‘blow in’; Solo show at Aldama Fabre Gallery, Bilbao; 25 May – 29 July 2017.
- Author contribution statement
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- Non-English
- No
- English abstract
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