Open Collections

Doody, Jorden Blue

University of British Columbia

This supporting paper investigates the process and outcomes of my thesis art exhibition I Must Be Streaming held at the Kelowna Art Gallery. My MFA thesis exhibition and research paper investigate how contemporary culture responds to notions of presence and absence of the body in the digital age where illusion, escape and distraction are at the forefront of the collective consciousness. Through a practice led research, I engage in a wide variety of creative processes including sewing, felting, woodworking, mural painting, and post digital design. By presenting a group of artworks that are the result of both traditional and contemporary studio processes I am uncovering new areas of knowing while connecting my artistic practice to the rich interdisciplinary context of feminist research. My main objective for this written research is to acknowledge the visual language and supporting context that has emerged from the overlapping aspects of installation art and the concept of site specificity. With the rising tide of online digital communities, I am interested in how culture instinctively shares experiences using key attributes and theories of relational aesthetics. By examining the importance of touch and how our four senses were once engendered in a hierarchical manner dividing men, women and nature my research explores ecofeminism and aligns the parallel inequalities that women and nature have shared under the reign of capitalism. This topic leads me to discuss the desensitization of touch through the digitally mediated aspects of our social lives where we remotely communicate with one another on a regular basis. By creating an immersive installation, it is my aim to welcome the viewer as a crucial catalyst that activates the works of art in a dream scene sequence of experiences. Through the examination of spatial aesthetics, fabricated objects, and the mediated image, my thesis explores the tangibility of sharing tacit knowledge and embodied experience through networks of concrete materiality.

Text

2021-06-21

Attribution-NonCommercial-NoDerivatives 4.0 International

http://hdl.handle.net/2429/78746

Visual Arts

University of British Columbia

UBCO

http://creativecommons.org/licenses/by-nc-nd/4.0/