Writing, drawing, speaking (2015-2020) [multi-component output with contextualising information]
- Submitting institution
-
Bath Spa University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 3349
- Type
- M - Exhibition
- Venue(s)
- NCUST Gallery, Tangshan, China; Verge Gallery, Sydney, Australia; The Galleries at China University of Mining and Technology, Beijing; Venice Biennale, Venice, Italy; and other locations.
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- -
- Year of first exhibition
- 2015
- URL
-
https://doi.org/10.17870/bathspa.c.5101589
- 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)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This output is formed of a collection of creative and critical works that interrogate the ontological boundaries between speech, writing, drawing and reading, asking if it is possible to move between these boundaries and blur, disrupt and reform them in a continuous process and, if so, what new forms, affects and insights might arise?
The intention is to examine, occupy and disrupt the frames of text, writing, reading, drawing and speaking, to create and inhabit a hybridised space, generating new forms, insights, and affect around the rhizomatic nature of verbal, visual, performative, and textual forms of language. Necessarily a range of approaches, media, processes and methodologies are employed as a means to reflect upon one another, including drawing, drawing as performance, written texts, text animations, text painting, sound pieces in the form of spoken word performances via digital avatars, digital prints, moving image, and published work in journals and books. The methods employed are conspicuously varied so that each process could be somehow inhabited, or confronted, by another, for example, writing in drawing, drawing in speaking. The unruliness of method is central to the nature of this enquiry.
Creative and critical works were disseminated within exhibitions, symposia and artistic research projects including NCUST Gallery, Tangshan, China, (co curated by Dutton); a sound and text performative work which was made for and during the Performance Arcade/Performing Writing project in Wellington, New Zealand; drawings which were exhibited as part of a group exhibition Documents Alternative at Verge Gallery, Sydney; and a suite of performance drawings for ‘AND’ Event Space in London. A journal article was published in October 2018, following which an animation work was presented at the Venice Biennale Research Pavilion. Most recently, a new work was made for the Centre of Gravity project and the Journal of Artistic Research.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
