GMU:Provokative Architektur/Jeremy: Difference between revisions

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[[File:Der-wanderer-ueber-dem-nebelmeer.jpg]]
[[File:Masks2.jpg]]


''Der Wanderer über dem Nebelmeer'' (Wanderer Above the Mist) by Caspar David Friedrich, 1818.
untitled, (a collection of objects), (working title)


My work, an untitled collection of objects, looks to explore ideas surrounding cultural and historic value. The construction of identity, place, politics and economy are implicated, as are references to museology, the Romantic and Classical periods, and contemporary art practice.
My art practice looks to explore ideas of representation using strategies of re-examining and appropriation. To this end I make use of a variety of different media including sculpture, photography, and publishing, often working towards an analogue feel and incorporating subtle aesthetics.  


The collection takes form as a series of objects made from plaster, paper, and wax, and voice recordings (audible through headphones). The objects include miniature masks taken from statuettes of German cultural figures, as well as traces of other common items and imagery.  
With this particular project I'm interested in exploring ideas surrounding the representation of cultural and historic value; including the nature of this 'value' and the dynamics of borrowing and appropriation that surround it.  


At once, the objects invoke a significance particular to central Germany and the locality of Weimar, and yet they could be taken anywhere and displayed as the spoils or curiosities of another place. Not being interested in fabricating or fostering a narrative, the objects instead remain honest to an abject sense of irony.
My project takes the faces and names of canonical German cultural figures and looks to use not only their forms, but also their legacies and associations as my working materials.  


[[File:Jeremy.pdf]]
Together, this 'collection' takes form as a series of objects made from plaster, clay and paper; including miniature masks taken from statuettes of German cultural figures, as well as traces of other common items and imagery. With figures such as Goethe and Liszt, the collection invokes a significance particular to the locality of Weimar or Germany more widely, and yet it could be taken anywhere and displayed as the spoils or curiosities of another place.
 
The construction of identity, place, politics and economy are implicated, as are references to museology, the Romantic and Classical periods, and contemporary art practice. With no interest in fabricating or fostering a narrative, the objects remain honest to an abject sense of irony that also seeks to remain earnest.

Latest revision as of 14:43, 21 February 2013

Masks2.jpg

untitled, (a collection of objects), (working title)

My art practice looks to explore ideas of representation using strategies of re-examining and appropriation. To this end I make use of a variety of different media including sculpture, photography, and publishing, often working towards an analogue feel and incorporating subtle aesthetics.

With this particular project I'm interested in exploring ideas surrounding the representation of cultural and historic value; including the nature of this 'value' and the dynamics of borrowing and appropriation that surround it.

My project takes the faces and names of canonical German cultural figures and looks to use not only their forms, but also their legacies and associations as my working materials.

Together, this 'collection' takes form as a series of objects made from plaster, clay and paper; including miniature masks taken from statuettes of German cultural figures, as well as traces of other common items and imagery. With figures such as Goethe and Liszt, the collection invokes a significance particular to the locality of Weimar or Germany more widely, and yet it could be taken anywhere and displayed as the spoils or curiosities of another place.

The construction of identity, place, politics and economy are implicated, as are references to museology, the Romantic and Classical periods, and contemporary art practice. With no interest in fabricating or fostering a narrative, the objects remain honest to an abject sense of irony that also seeks to remain earnest.