GMU:Provokative Architektur/Jeremy: Difference between revisions

Latest revision as of 14:43, 21 February 2013

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.

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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. Cover image from the 1902 English-language edition of Goethe's ''The Sorrows of Youg Werther'', translated by R.D. Boylan, Edited by Nathen Haskell Dole
+untitled, (a collection of objects), (working title)
-My work, an untitled collection of objects, looks to explore ideas surrounding cultural and historical value. I am interested in objects and other forms of representation that appropriate ideas of value as simply another material.   The construction of identity, place, politics and economy are naturally 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.
-This collection takes form as a series of small objects made from plaster-of-Paris, paper, wax, and voice recordings audible through a single pair of headphones. The objects include a number of miniature masks taken from statuettes of canonical German cultural figures, as well as  traces of other common items and an image-based exploration of representations of exotic wildlife from the GDR.
+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 these objects are particularly significant to central Germany because of the cummulative dialogue they foster, and yet they remain poignant more widely as part of an ongoing negotiation with the dynamics of culture and history and our relationship to it. The collection does not seek to fabricate or foster a narrative, instead remaining honest to the abject sense of irony it puts forward.
+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.