Expanding criticality – clay as multi-media performance, explored through Performing Jeju Scoria and Hands that Build – Hands that Destroy
- Submitting institution
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University of Sunderland
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 1452
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- Clay/ceramic as multi-media performance
- Open access status
- Out of scope for open access requirements
- Month
- -
- Year
- 2020
- URL
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http://sure.sunderland.ac.uk/id/eprint/13283/
- Supplementary information
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-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- The clay reader: scoria, scoria jeju scoria was due to take place in August 2020 on the Island of Jeju, Republic of Korea. The research consists of multiple elements including practice, theory, publication and conference presentation and discussion. Due to the Covid19 pandemic restrictions this research took place remotely in the UK during the month of November. All of the research was conducted virtually and presented a new paradigm with regards to the evolution and consolidation of the project both within a short time-frame and alternative approaches to the original research.
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This practice-based research explores clay/ceramic as multi-media performance and is particularly significant in terms of the contextualisation of video and clay within the field. The research further explores and implements clay as a critical and political tool engendered through extended approaches to medium and process. The nature of clay as static is expanded through the integration of video, which aims to construct an extended visual language derived from material performativity. Inherent qualities within the material processes and ubiquity are explored and implemented within a socio-political context. Within the Cheongju International Craft Biennale, this work was the only such work to include video and as a consequence contributes to new insights with regards to a reading of the work in a craft context and framework.
This research explores the disjuncture and paucity of critical examination that exists within the field with regard to the application and interpretation of clay and film and produces new insights with regards to the contextualisation and reading of artwork. The research demonstrates the extended capabilities of clay and presents new arguments that video can be conceptual and not documental in presentation. A conceptual positioning was found through an extended familiarity within the processes and inherent identities of the material clay, thus developing an extended visual language where engendered forms of expression were presented through the political potential exposed within the artworks.
Methodological approaches are practice-based and evolve from studio exploration and practice. The artwork is presented as a form of research and as a production of research insights, contextualized within a ceramics framework. This is supported by reflective approaches that draw on theoretical knowledge of the field gained and implemented from prior discoveries within on-going research. This research contributes to the development of an expanded discourse for ceramic through visual and critical application.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
