The content and aims of my Major Project, Time after Time correspond with some of the AHA conference themes and offer an opportunity to test the potential of the artwork to engage and activity audiences, an aim which was set out in my Project Proposal. So I have decided to submit a proposal to run a session as outlined below. I think this would be a great opportunity to exhibit and contextualise my work and also to collaborate with CT colleagues/research student, so I hope it gets accepted: “This is a dark time, filled with suffering and uncertainty. Like living cells in a larger body, it is natural that we feel the trauma of our world. So don’t be afraid of the anguish you feel, or the anger or fear, because these responses arise from the depth of your caring and the truth of your interconnectedness with all beings” (Macy and Gahbler , 2006, p.105). How technology can be used to augment analogue artworks and further engage and activate audiences. Delegates are invited t...
The zine-making workshop with Ceri Amphlett was very inspiring and I enjoyed seeing examples of her work and learning about the potential of the zine as a very immediate and direct form of communication. I have since led my own zine workshop with MA students who used is it as part of their climate action activism, the success of this has given me the confidence to respond to a call for sessions from the Architectural Humanities Research Association around the theme of 'Situated Ecologies': Zines have a long history associated with campaigning, sharing information, telling the stories of marginalised groups and activism; they have been designed to circumvent mainstream media and institutions and to democratise political messaging. There is now a renewed interest in the relevance of the zine as a counterpoint to on-line information that is controlled and censored by social media platforms and news conglomerates: contemporary zine makers use the medium for activism - a medium e...
This is such a thought-provoking programme that charts humanity's relationship with the natural world, through art, from the earliest cave paintings to the present day (yet to watch). In episode two, I was particularly struck by the paintings of Ustad Mansur, a Mughal painter working in the early 17th C who documented the natural world in incredible detail and was the first person to depict a dodo in colour; his painting of a chameleon is also so well observed, a strong graphic image with layers of colour and marks used in relief to depict the skin of the animal - I always enjoy a dot or two and this could suggest a way of painting my animals. The programme also made reference to the Chinese Painter Xiang Shenmo and his scroll painting, Reading in the Autumn Mountains, a beautifully composed image that shows humans as part of nature but also dwarfed by nature; I think the way trees and leaves are represented could be very helpful as I start to work on the detail of the plant...
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