Abscission: A portrait of grief: A portfolio of interrelated works by Fiona Curran.
- Submitting institution
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University of Gloucestershire
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- 474
- Type
- T - Other
- DOI
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- Location
- -
- Brief description of type
- Multicomponent output
- Open access status
- Out of scope for open access requirements
- Month
- November
- Year
- 2020
- 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
- This film portfolio continues Curran’s research on grief and death. Using poetry and sonic landscapes, her concerns with the physicality of emotion are explored here by considering grief as molecule, compound, as equation, as organ, as artery and ultimately as heat itself. This enquiry into the phenomena of grief began life as a nine-part poem, The Scientist Series, and resulted in four films, Cur, Boxes, Lid and Transit 0.2. Cur, centres on the guardians of the underworld, Pluto’s two sleek and terrifying Staffy’s. Boxes is a process documentary filmed in Vic Fearn’s coffin factory in Nottingham; a factory with over 150 years’ experience of making all manner of bespoke coffins. Here Curran meditates on the beauty of the dance of death, as performed mesmerically, by one of the workers, who attends to varnishing the lid of the final box. LID, focuses on a dancer finding a way to make her peace with her box, before packing herself into the trunk for the journey to the other side, and finally TRANSIT 0.2 in which Curran depicts the artist who after being trapped in purgatory, finally escapes to the world above, only to find that bringing her fractured psyche to a full stop amongst the throngs of her old world, no longer automatically allows her access to it. Curran uses comedy, dogs, workmanship, street scenes and homecoming as lenses through which to consider grief.
- Author contribution statement
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- Non-English
- No
- English abstract
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