COMMUNICATION- workshops - Helena Elias
DAY 1- 26.02.24- see full notes transcript here
summary of notes:
- To set conditions so creation can happen in several ‘practiced’ environment (so almost like research questions for each environment): Artistic practice, Studio practice, Knowledge practice (in institution)
- Visual experience vs tactile experience of drawing:
-Tactile experience: contour, touch, concave, convex, texture, surface change.
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The line as an expression of contour, of the limits of objects, and of the possibility of objects' existence.The hand that generates the contour -through tactility, it defines the limits, surface changes, texture. This hand is inclusive, it is the experience of touch, even if the ultimate meaning is retinal...
- Print + drawing: slabs of clay rolled on canvas can also make a drawing.
- Line and contour speculations (constructing something 3D from drawing of shadows)
- Ceramic fragments can have another life than making the object all over again. re-use/recycling of clay in other cultures (smash them and make something else)
- Use of Pliny the elder dibutades story: it has developed into what we think of euro-centric way of thinking of art but when we look at how the ‘story’ is told, its much closer to other non-eurocentric ways of telling stories. So the complexity of euro-centric and non-eurocentric knowledges and how they influence each other.
- AND all the satellite/connecte themes attached to it (it was a woman drawing but a man’s writing about it, that would have affected the story and interpretation).
- Take into account the sensoriness of the material I use when doing the exercise
- CORINNE MELIN corimelin@gmail.com
Sensorialité à travers la littérature, le cinéma, la marche, ecole des beaux-arts de pau
Le corps-texte, pierre-louis patoine
- Feedback from exercise
Creating a new narrative of the space based on how it was used= the narrative of the space it’s like a cartography.