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Virtual projection of crafted house

Virtual space showcasing the inside of the craft object home. A measure of interactivity allowing the viewer to percieve with clarity the pictures within the crafted object.

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Transference of craft into virtual space through the use of created objects. These objects, the totems created earlier with rice paper were designed in 3Dsmax and then subsequently mapped with photographed rice paper texture to create multiple craft objects akin to their origami counterparts.

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Virtual projection: interfering with found objects

3D models created in 3Dsmax of the interfering with found objects part. Using virtual projection of the internal object as well as the real projection to enact play. This criteria of play is an activity of hypermedia, how would humanoid objects interact with found objects in a postapocalyptic scenario. Thus creation of humanoid objects and two of the multiple found objects in order to enact a scene in a way this species uses objects to find shelter.

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Liaison between real and virtual part 2

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Jan Pfeiffer-Vals

Jan Pfeiffer is a multimedia artist who uses paper, video, sculpture and performance to present roles of power in todays society. His artworks are fluid and speak about liminality, they are always on the threshold. The threshold plays a strong role in his artworks, he uses symbology of the door and the fluidity of the human body to a great extent within his artwork.

In this multimedia performance, the artist used poetry, sketches and solitude to create art. The performance was made in collaboration. Sketches are a strong way for him to propose his thoughts to his audience.

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Saša Spačal - Vals

Sasa Spacal is an artist who was not trained artistically. Coming from a different background, her postmedia artworks are usually collaborative. Here, her objective is interconnection between a variety of sense, trying to showcase communication between different life forms being more than simply communication.  Her installations are directed towards her audience being able to sense diverse ecosystems of lower life forms through the use of sound, smell, touch and sight. She collaborates with scientists, engineers and technical experts to create these installations, prioritizing the aspect of group knowledge.

Meta bolus is an artwork which invokes the sensations. Using smell and science of organic aromas, Spacal puts us in touch with natural lifeforms so small, we ignore their existence handedly. However their scientific presence plays a strong role in our lives, invoking a memory of rain and wet leaves just through the emission of a single aroma.

Myconnect is a symbiotic interspecies connector that questions anthropocentric division of nature-human-technology. With its circuit of signals and impulses, that are generated and translated by biological and technological organisms, Myconnect performs an immersive experience of symbiotic interdependence. Through this experience distinction between nature-man-technology can be seen as an arbitrary definition that serves particular biopolitical interests in human society, which can than be shamelessly wrapped in an ideology of utilitarianism and may conceal excessive exploitation.

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Interfering with found objects part 2

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Artists using totems as a means for expressing culture and community

Totems are a strong basis from imbueing culture within art. Totems represent historic and mythological reflections of an individual on centuries worth of cultural influences, dating back through ancestral transference. Various artists make use of this transference in order to create a persistence of bygone traditions. They use these totems as objects which are protection against the harshness of society, of technological complexity and chaos brought by an ever changing artistic community. Jeffrey Gibson Gibson is an american artist who uses various media to create totemic sculptures. Gibson’s artwork intermingles elements of traditional Native American art with contemporary artistic references. Thus powwow regalia, 19th century parfleche containers, and drums are seamlessly merged with elements of Modernist geometric abstraction, Minimalism, and Pattern and Decoration. Here there is an echo of Frank Stella and Josef Albers – canonized in our current dialogue which has little or no inclusion of Native American art which Gibson provides comparable weight and equivalence.

Nancy Azara’s sculptures are carved, assembled and painted wood with gold and silver leaf and encaustic. Her collage/scrolls include large rubbings, tracings and painted cutouts on Mylar scrolls. The wood, the paint the layers that make up the sculpture and collage/scrolls record a journey of memory, images and ideas. http://methodsofart.net/artist.php?artist=azara

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juxtaposition of realities

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Craft within art

The use of craft became an increasingly legitimate part of the artistic canon from the 1980s onwards.However, rather than working with craft for craft’s sake, for many contemporary artists the selection of craft media is ‘generally chosen with regard to the sociohistorical underpinning of a medium rather than any essential regard for or desire to plumb its unique material properties’. The work therefore becomes meta-craft: craft about craft. (Smith, 2015)  https://core.ac.uk/download/pdf/42558236.pdf

Lesbian and feminist art frequently made use of craft akin to this discourse.

Judy Baca A feminist artists who uses intersectional art in order to empower women of color to bring together community in American. She did so through the use of craft objects, using them to empower her culture,via symbology and totemic objects. The processes behind the images that Baca created are equally powerful and highly similar to Frida Kahlo’s artistic practice.

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Winnicott on string

The squiggle game in this particular case led to a curious result. The boy's laziness immediately became evident, and also nearly everything I did was translated by him into something associated with string. Among his ten drawings there appeared the following: lasso whip crop a yo-yo string a string in a knot another crop another whip. After this interview with the boy I had a second one with the parents, and asked them about the boy's preoccupation with string. They said that they were glad that I had brought up this subject, but they had not mentioned it because they were not sure of its significance. They said that the boy had become obsessed with everything to do with string, and in fact whenever they went into a room they were liable to find that he had joined together chairs and tables; and they might find a cushion, for instance, with a string joining it to the fireplace. They said that the boy's preoccupation with string was gradually developing a new feature, one that had worried them instead of causing them ordinary concern. He had recently tied a string round his sister's neck (the sister whose birth provided the first separation of this boy from his mother). The boy was dealing with a fear of separation, attempting to deny separation by his use of string, as one would deny separation from a friend by using the telephone... ...During this recent phase the boy had acted out something with rope which the father felt to be significant, because it showed how intimately all these things were connected with the mother's morbid anxiety. He came home one day and found the boy hanging upside down on a rope. He was quite limp and acting very well as if dead. The father realized that he must take no notice, and he hung around the garden doing odd jobs for half an hour, after which the boy got bored and stopped the game. This was a big test of the father's lack of anxiety. On the following day, however, the boy did the same thing from a tree which could easily be seen from the kitchen. String can be looked upon as an extension of all other techniques of communication. String joins, just as it also helps in the wrapping up of objects and in the holding of unintegrated material. In this respect string has a symbolic meaning for everyone; an exaggeration of the use of string can easily belong to the beginnings of a sense of insecurity or the idea of a lack of communication. In this particular case it is possible to detect abnormality creeping into the boy's use of string, and it is important to find a way of stating the change which might lead to its use becoming perverted. Winnicott’s account on string was a profound eye opener as to the way play works in psychology. As compared to Huizinga’s notion of play function being placed outside of the sphere of psychology, Winnicott’s account shows that the individuals obsession with identification of objects around them, personalizing them, projecting and introjecting them, all have basis and roots in the origination of play. Psychology therefore has a strong role in the discussion of play; furthermore it puts into perspective the organic notions of play which Huizinga had proposed in 1939. This is firstly evident through the absence of game or competitive elements as well as using platonic society to establish psychological thought. Winnicott uses his own experiences as a therapist to establish a connection to transitional objects of children, those which according to him augment creativity. He talks about the transition from the mother object as one of potential. This distance which forces the selection of a transitional object (a teddy bear, a piece of thread, string) shows creativity. And even as the child grows, the transitional object bears the same creative intent, projecting itself onto the world in various ways.  

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Various artists actively use the context of transitional objects to create art, contextualizing the world around them in a way that is similar to transitional objects of their childhood. From here, a sense of pastiche emerges between the use of found and collected objects, materials and images to create art in order to express emotions. Ged Merino is an artist who works intersively with found scraps. He speaks of these scraps as a reflection unto his mother, who used to work stitching clothes together when he was a child. His use of found objects is clear within his artworks; the immensely convoluted use of thread, string, soft textiles and other maleable materials to create artworks that are bright and full of expression. These were straightforwardly presented during his exhition called Transitional Objects at New York. The same can be observed in the artworks of Tony Feher, though less evident. Feher makes use of suspended objects, a very strong psychological motive, through the use of string and thread. His artworks are a subtle representation of how various issues today. However the psychological markers of suspension are evident within a majority of his artworks.

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Definition of object by D. Winnicott

A subject finds context or attaches meaning to an object in terms of transitional objects. This could mean anything, a person, a broken piece of wood, a toy.

Objects are discovered by the subject through a great psychological process. There are various ways people deal with objects; surely the interaction of the subject with a long itenary of various objects has subsequent implications. As such:

External Objects are things outside the body, such as other people.

Internal Objects are things inside the body, such as emotions and feelings regarding these external objects. 

The difference between the self and the object is when the child begins to distinguish itself from the world. Children make use of these internal objects to project them on to external subjects in various ways.This could be a way of releasing surpressed emotions of joy, rage, anger, love or euphoria. The child could express these emotions towards another object simply to identify with it. This keeps bad parts of the self at a safe distance without losing them.This creates an internal reflection on the outside world. In contrast a child is seen to mimic traits of certain objects. This can be a way of engaging with reality in a way that is comforting for the child, through mimesis of the object or person to overcome a difficult period. This could be seen as introjection.

Donald Winnicott in his account and proposal of transitional objects, speaks at length about this comprehension and realisation of self by the infant. As a therapist, he worked extensively with children who did not transition well from the mother object and thus had resulting tendencies which were not healthy. 

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transitional objects

When the mother object moves away from an infant, this infant becomes upset by the such absence. As a compensation, they make use of some object with the qualities of themother. This object is called a Transition Object. This is a division as the mother is split  into the actual mother and the transition object.

This is seen in the life of the infant as early as six to eight months: The transition object could be something calming, such as blanket or soft toy, that is similar to the softness of the mother. By being near or attaching themselves to this object, infants make up for the loss of the mother object. This is a common occurence among children, transitional objects form a healthy part of the development of a child.

Taking away this object from the child can cause problems; they are now truly without the help of the mother object, real or transitional, creating sentiments of loss and anger that are immense.

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Continuation of imagined interior space. Exploring the rapport between open and closed spaces through the use of play. Craft has an interesting therapeutic process within an art, this artwork was conceptualized and based on the way craft has immense ties to homosexuality and art

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7th December Interference with found objects. The use of these miniscule figurines recreates the same imagination of interfering with found objects during childhood, bringing forth a relationship with the object in order to ascertain its existence and to bind this existence in the mind of the child. These figurines could thus interfere with any object, occupying it, turning it into reality and subsequently invading the space around it to exert their presence.

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Made on November 25th,reused ricepaper painting in the form of origami. How to include play through craft? What is the association? What is the purpose of momentos and objects that help us transition through an event or a memory? The purpose of play has a strong factor in the making of these rice paper totems. They express personal and mental images brought about in a sense of imagination.