Outpost 290424
Zola Jesus : Arkhon
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Metonymy as often treated as a subtype of metaphor by cognitive linguistics has a different working mechanism. Metaphor is based on perceived similarity between things, while metonymy on the relationship within things.
The trace and trait of mark making is a durational gesture on the way to becoming an line/outline/contour.
Mark-Making 'names' something absolutely inhuman, the shadow and the strain and the loss of any criterion to distinguish between the intended and the unintended and between human indications and marks produced by natural processes.
Line, takes marks, traces out of duration into forms set in eternity.
Seeing the relation between the daughter's and the father's image making as that between metonymy based on contiguity, and metaphor based on similarity, each produces in a different way a defective image. The portrait image based on resemblance fails to unite the inner essence of the subject, just as a shadow traces only the contours of the body.
In Drawing the problem is to 'slow' the consideration of the mark, so that it does not move too quickly toward line-contour-figuration or image. But to allow it to hesitate on the edge.
Images In Mind.
Pliny's Story of the Origin of Drawing.
Deborah Tarn Steiner.
Contemporary Fine Art Practices.
The Lines of Thinking about Drawing.
Michael Newman.
Drawing-as markingtime-memory-matter in the work of Avis Newman.
Working/Thinking with-Imprint-Index-Trace-Mark-Photograph-
Inside The Visible.
Catherine De Zegher. 1996
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The image exists after the object.
First we see, then we imagine.
Maurice Blanchot.
To the artist, the creation of objects is a process of sequencing their work processes, rather than the completion of work.
Eva Hesse's practice offered Christina Iglesias a model for a process-based way of working, rooted in a deliberately limited range of materials.
Eva Hesse, Lucy Lippard.
On Making Skins-Shells.
Metonymy.
The sculptural spaces Christina Iglesias constructs are kinds of dream-catchers. They are there to transport our imagination. We again see how the light in the text is filtered and refracted on its journey through different materials, in a way that is very similar to the experience afforded by Iglesias's sculpture, in that sense, she creates spaces that are materialized poetry.
Ceramics as Performative/Speculative/Experimental and Discursive.
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Adventures Of The Fire, into a process of experimentation that is expressed as an incompleteness through forming an incomplete part of a bowl, and in doing this it presents a new form as a gate. Experimentation is always towards the new and as such it presents a basic direction about creation. As a venture, a process of experimentation, that is all about the new, notwithstanding if it is successful or unsuccessful.
When seen separately as individual pieces, these works with their widely varied experimentation on forms and new techniques/technologies are perceived as ordinary ceramics and craftwork. But when they are assembled together according to a different method of display, they collectively become an installation and a formative artwork/network. One module constitutes one artwork and each artwork creates one space, then it is no longer necessary to divide ceramics into genres of traditional ceramics and contemporary ceramics, or ceramics as expression and ceramics for use.
The Space Of Fire-Charcoal, includes ceramics that impart a feeling of charcoal or have colour that contrasts with charcoal.
The Space Of Earth-Clay, presents contemporary formative works in front of a curving wall of layered fragments of bisque-fired pots, earthenware, stoneware, white porcelain, bancheong and celadon. Stories about the flow of time and plasticity of clay are told here.
On Making and Taking Up Stories.
On Feelings and Correspondences.
Ceramic Space and Life.
We humans occupy space as big as our physical bodies and expansion of space occupied by individuals give rise to the concept of collective space. A space enables its members to communicate with each other and produces unique culture and creates communication within itself. If such meaning of space is expanded, each and every object takes space as its volume.
Space contains objects, and people experience cultural communication within the space.
Every space that is occupied by each work presented at this exhibition feels different depending on the shape-colour-volume-texture and meaning of the work, not to mention the physical dimensions of the space in which the individual work is placed.
An individual work has meaning by itself, regardless of where and how it is juxtaposed in the space and how viewers perceive it. Such existence and meaning give rise to art of a new concept within a space. An installation itself becomes an exhibition, one space exists as one single artwork.
Ceramic Gate, while being one single piece of art, also shows how architecture is directly integrated into ceramics, this installation was designed to be in harmony with the existing gallery building, while also presenting ceramics as a core formative element. This installation was a joint work of participating artists in Ceramic Space and Life, and it is considered as suggesting a model (methodology) for the combination and integration of architecture and ceramics.
Eight spaces to present an architectural concept, displaying works grouped into natural elements of People-Water-Fire-Clay-Metal-Light-Wood.
Each of the eight sections of the exhibition sheds light on the fundamental nature and artistic values of ceramics, by displaying ceramics of different types, traditional and contemporary, and ceramics as expression, and ceramics for use together, and at the same time new meaning is created as each individual work communicates with the space in which it is placed.
The space, illuminates ceramics into spatial harmonies of Space Art and Ceramic Art, gathered here these 150 works will suggest the future direction of ceramics by showing marks and traces of the past.
Ceramic-Object.
Hong-won Lee, Curator
On Precarious Enclosures/Wanting Shelter.
No ideas haunt us as much as those of stable matter and fixed place.
An intense attentiveness is born of the perpetual sense of being an outsider and the continual readjustment in viewpoint that it requires.
Cristina Iglesias.
Alone or Aligned?
An Aesthetic Identity.
Lynne Cooke.
1993 was a pivotal year for Cristina Iglesias, for the first time her work was convincingly contextualized in relation to her peers and mentors. That same year she entered into an agreement with Artscape Nordland to create a site-specific sculpture in a remote area of Northern Norway.
In Sintitulo untitled ( Laurel Leaves) 1993-94, she explored a way of staging spatial relations rooted in Modernist architectural histories that has since remained the core of her aesthetic.
Barbara Stafford situated Iglesias's work in a cultural history in which places of shelter and refuge serve a fundamental role in that they address psychic as well as functional needs. Referencing both organic and man-made structures from archaic times onward, Stafford argued that Iglesias's works evoke both the age-old escapist dream of being hedged from life and the desire still urgent today for a terrestrial paradise wanting shelter.
For Stafford, Iglesias's precarious enclosures at once vulnerable and somehow out of place, put an intolerable pressure on the meaning of mental security. Eloquently situating her art in relation to architectural typologies and histories, Stafford establishes the terms in which Iglesias's practice would be parsed henceforth.
The Daughter of Butades.
Drawing traces is the act of differentiation of figure and ground (the reserve).
Butades's daughter and her many marks around the shadow, do not yet form the unified-idealizing contour, nor yet the figure against the ground.
Architectural and Environmental Ceramics.
Perforated Screens.
Gate-Wall-Pavilion-Object
Ceramic Houses
Nader Khalili. 1990
Architectural Ceramics for the Studio Potter.
Peter King. 1999
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