Hands That Build - Hands That Destroy in 9th Cheongju Interantation Craft Biennial, Korea

Livingstone, Andrew (2015) Hands That Build - Hands That Destroy in 9th Cheongju Interantation Craft Biennial, Korea. The 9th Cheongju International Craft Biennale, 16/09/2015 - 25/10/2015, Cheongju, Korea.

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33D7882B-5001-4252-B922-D63FC6914F99.jpeg - Published Version

Abstract

This artwork explores an extended vocabulary for ceramics with regards to the employment of clay and in particular its juxtaposition with the performative ‘other’. The notion of the performative ‘other’ references the developing spectacle of ‘non-ceramic’ medium employed by artists working within the ceramics field and one that is often evidenced, although not exclusively, through video, photography, digital-media and performance. This work forms part of on-going research by the artist with regards to clay and the digital interface.

Item Type:	Show/Exhibition
Additional Information:	Hands that build – hands that destroy explores and implements clay as a critical and political tool engendered through extended approaches to medium and process. The nature of clay as static is expanded through the integration of video, which aims to construct an extended visual language derived from material performativity. Inherent qualities within the materials processes and ubiquity are explored and implemented within a socio-political context. The cast brick-clay objects make reference to buildings, which are deconstructed within the film element of the artwork. Clay has been rendered toxic within this work and makes reference to global unrest and destruction. Within the biennale this work was the only such work to include video and as a consequence contributes to new insights with regards to a reading of the work in a craft context and framework.
Depositing User:	Andrew Livingstone
URI:	https://sure.sunderland.ac.uk/id/eprint/10932

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Additional Information

Hands that build – hands that destroy explores and implements clay as a critical and political tool engendered through extended approaches to medium and process. The nature of clay as static is expanded through the integration of video, which aims to construct an extended visual language derived from material performativity. Inherent qualities within the materials processes and ubiquity are explored and implemented within a socio-political context. The cast brick-clay objects make reference to buildings, which are deconstructed within the film element of the artwork. Clay has been rendered toxic within this work and makes reference to global unrest and destruction. Within the biennale this work was the only such work to include video and as a consequence contributes to new insights with regards to a reading of the work in a craft context and framework.

Depositing User

Andrew Livingstone