Doris Hainsworth née Wilson
- Submitting institution
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Teesside University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 6501397
- Type
- L - Artefact
- Location
- Verum Ultimatum Gallery, Portland, Oregon, USA
- Open access status
- -
- Month of production
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- Year of production
- 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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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Doris Hainsworth née Wilson (2017) results from critical and analytical research into a personal photographic archive of the Wilson family from the Victorian era to the 1980s. It integrates found object, cutting-edge digital technologies and fibre manipulation, to establish a firm discourse within theories of material culture and memory studies, grounding the object/image relationship in an active production of meanings. Here, objects as quotidian material on the one hand, and oneiric things on the other, communicate in a transformative language of evocative metaphors. In the final iteration of this work, a prescience of the everyday is formed, through a symbolic signification. Doris Hainsworth née Wilson forms a relationship with Burton’s wider study of the interior and exterior, the mundane and subconscious, and the dreamed, in the transformation of narrative.
Anthropological research and oral narrative examined family remembrances and explored how memory and post-memory, held within the photographic archive, form feelings of belonging and construct social relations. Doris Hainsworth née Wilson evokes emotive objects of memory that speak of ‘silence, absence and contradiction’, in an original interplay between objects/images of the past and contemporary digital image making technologies. This has evolved from research as critical practice, showing how the ‘performative nature of remembering’ heals past hurts through object/image narratives, and may also be transformative in informing how individuals and communities live in, and relate to, the present and the future (Kuhn, 2002: p.158). The viewer engages with the materiality of the object, or the image, as a sign pointing into the past as present.
The artwork was first exhibited in the Chasing Ghosts 2 exhibition in the Verum Ultimatum gallery in Portland, Oregon, USA (2017-18). The work was subsequently also selected by the juried exhibition committee for the International Textile Art Biennial held in Den Breughel, Haacht, Belgium (2019).
- Author contribution statement
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- Non-English
- No
- English abstract
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