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MOLLY PEMBERTON
// MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // 1. Context Essay: The Role of the Handmade in a Digital Age.…..2 // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS // 2. ArtistPAGE Statement…………………………..……...………………...25 // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // 3. Studio Report: The Process of the Practice………………….…26 // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE // 11 // MASTER CONTENTS PAGE // // MASTER CONTENTS PAGE //
MANUAL FOR PRACTICE
Molly Pemberton BA Hons Fine Art Manual for Practice - Context Essay
The Role of the Handmade in a Digital Age
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CONTENTS
Introduction…………………………………………………………………………………...4
The Value of Craft………………………………………………………………………..…..6
Handmade Culture in Modern Society………………………………………………..……9
Craft, Copies and Crafted Copies…………………………………………………………11
In Contention with the Digital………………………………………………………………17
Conclusion…………………………………………………………………………………..19
Bibliography…………………………………………………………………………………21
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ILLUSTRATIONS Introduction ---
The Value of Craft Susan Collis, 100% Cotton, 2004, Seventeen Gallery……………………………………………...6 Susan Collis, The Oyster’s Our World, 2004, Seventeen Gallery………………………………….7 Alexander McQueen, examples of behind-the-scenes craftwork, Instagram………...................9 Levi’s, Craftwork campaign, Mark Haylock…………………………………………………………10
Handmade Culture in Modern Society ---
Craft, Copies and Crafted Copies Vija Celmins, To Fix the Image in Memory, 1977-82, The Museum of Modern Art……………..14 Susan Collis, Jimmy, 2010, Seventeen Gallery……………………………………………………15
In Contention with the Digital Ann Hamilton, The Event of a Thread, 2013, installation, James Ewing……………………….17
Conclusion ---
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INTRODUCTION
For centuries there has been a continuous and explored relationship between the arts and crafts, a fascinating hierarchy in which it is typically concluded that traditional craft is to be perceived as a lower art form. With creativity universally determined by innovation and uniqueness, craft-based activities are consequently dismissed as being, “constrained by tradition and resistant to change,”1 and thus considered stagnant and repetitive.2 When handmade practices have traversed the well-established line dividing the arts and crafts however, it is frequently following significant periods of societal and technological transformation resulting in the artists of the time electing to utilise tactile practices as a reaction to and rejection of mass production and globalisation. The most notable examples of these returns to craftsmanship3 are during the Industrial Revolution of the late 19th century, the materialistic commercialisation and consumerism of the 60s and 70s and, most recently, the rise of modern digital technology.
It has been suggested that the growth of digital technology is also fuelling this desire to touch and interact with the world physically. Our daily lives have been hugely impacted by electronic devices which use touch in an unconscious way, with our eyes and attention fixed to a screen rather than aware of the activity of our hands, even whilst using touch screens.4
This essay will discuss the renewed relevance of craftsmanship during an age of technological advancement, utilising the work of Susan Collis to exemplify the importance of the time, attention and labour involved within a handmade process. The critical analysis of craft, executed by Richard Sennett, in ‘The Craftsman’ will be referred to throughout.
Gail Kenning, Creative Craft-Based Textile Activity in the Age of Digital Systems and Practices, Leonardo (Oxford) 48, October 2015, p.541. 2 It is perhaps necessary to acknowledge that the marginalisation of woman and the working class throughout history is certainly relevant to the dismissal of craft-based activities as an art practice, however this will not be discussed within the confines of this essay. 3 Throughout the duration of this essay, the use of words such as ‘craftsmanship’ will be employed. Whilst I recognise that such language is gendered, its use will not refer exclusively to the male species and its working definition will be outlined within the first section. 4 Stacey Harvey-Brown, Textile Art – a tactile interface in a digital world, The Loom Room, 2013, website: https://www.theloomroom.co.uk/textile-art-a-tactile-interface-in-a-digital-world (accessed April 2021) 1
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Furthermore, I will evaluate the current craft renaissance within mainstream society as well as its prevalence throughout the last century. By discussing our oscillation between conformity and the desire for individualism, the subject of mass-produced, assembly-line production versus the poetically, hand-crafted item will be raised, drawing on ideas included in Martin Heidegger’s Thing Theory.
Finally, I will use the work of Ann Hamilton to discuss the notion in which handmade practices may aid us in reconnecting to the world while we are becoming so engulfed in modern technology. Using the work of Vija Celmins, I will also tackle the notion of reproductions through the lens of craft. Jean Baudrillard’s ‘Simulacra and Simulation’ will be a recurring reference as I question the significance of the proliferated images available on the Internet and how this may demonstrate the imperative consideration of tactile activities within modern society.
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THE VALUE OF CRAFT
In ‘The Craftsman’, Richard Sennett states that, ‘all craftsmanship is quality-driven work,’ that ‘the aspiration for quality will drive a craftsman to improve.’5 This definition of craftsmanship is dependent on acquired skill as opposed to innate talent and invokes ideas of value. The first artist I will introduce is Susan Collis, an artist who juxtaposes quality and craft with the mundanity of quotidian objects.
Susan Collis, 100% Cotton, 2004, overalls, embroidery, 155 x 25 x 17 cm.6
5 6
Richard Sennett, The Craftsman, Penguin Books, 2008, p. 24. Image source: http://www.seventeengallery.com/artists/susan-collis/ (accessed April 2021)
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Susan Collis, The Oyster’s Our World, 2004, wooden step ladder, mother of pearl, shell, coral, freshwater pearl, cultured pearls, white opal, diamond, 81.3 x 38 x 58 cm.7
Within her practice, Collis demonstrates the notion of craft and value with multiple approaches. Firstly, the literal, monetary value due to her inclusion of precious materials, such as minerals and gemstones. Second, the use of items already closely associated with labour: overalls, step ladders and brooms, to once more reference craftsmanship. Finally, her employment of small and subtle techniques which often succeed in going undiscovered; an observant audience which detects the hidden labour is rewarded with evidence of her hand, as well as the time, effort and attention taken to create these objects.
It is specifically the trace of the hand that endows quality. Why? Because in the West we no longer manufacture many of our own goods, even by machine, let alone by hand. In a context where labour is prohibitively expensive, the handmade acquires genuine cachet.8
Ibid. Justin McGuirk, Craft Fetishism: From objects to things, Disegno, 2012, website: http://justinmcguirk.com/craft-fetishism-objects-things (accessed April 2021) 7 8
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The cachet that the handmade possesses is highlighted by the amount of skill required, by a person, set of people or in this instance, an artist like Collis, to create and so as Sennett describes, ‘skill development depends on how repetition is organised.’9 Various sources debate the duration of time necessary to develop skill, anywhere between 20 hours and 9 years has been cited.10 However, it is evident that the time, practice and contemplation involved within the formation of a crafted item contrasts drastically to the immediacy of mass production.
With the authorship and authenticity of automated production addressing the thoroughly investigated question of man versus machine once more, a recent modification to the advertisement of mass-produced designer goods has occurred, placing craftsmanship at the fore front. Becoming increasingly prevalent is the exposing of behind-the-scenes manufacture, satisfying ‘the desire to reveal the process and not just the finished object.’11 Globally recognisable brands like Alexander McQueen published countless images of their designers and seamstresses tackling the next collection, along with the irony of Levi’s ‘Craftwork’ campaign, to name a few. Launched within the last decade, the Levi’s campaign strived to reinstate the importance of the individual and their craft whilst advertising one of the most mass-produced products available on the market. Writer, Justin McGuirk, explains further that, ‘these are not-so-subtle messages reasserting the value of the handmade over the machinemade.’12 The value in question being the apparent human presence that is lacking in typical assembly-line production.
R. Sennett, The Craftsman, Penguin Books, 2008, p. 38. Ryan M. Frischmann, Learning Skills: How long does it take?, 2016, website: https://hrdailyadvisor.blr.com/2016/10/13/learning-skills-long-take/ (accessed April 2021) 11 J. McGuirk, Craft Fetishism, The Guardian, 2011, website: http://justinmcguirk.com/craft-fetishism (accessed April 2021) 12 Ibid. 9
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Alexander McQueen, toile making and embroidering, 2020, photographed by Liam Leslie and Olivia Arthur.13
Alexander McQueen, pattern cutting and hand sewing, 2020, photographed by Adama Jalloh and Chloé Le Drezen.14
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Image source: https://www.instagram.com/alexandermcqueen/ (accessed April 2021) Ibid.
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Levi’s Craftwork Campaign, 2010, Mark Haylock.15
Acknowledgement of the disconnect, exemplified by such advertisement, between the individual and the multiplicity of products accessible to the individual as well as the attempt to re-establish the individual maker within the production process, has provoked somewhat of a revival of craft and the handmade within mainstream society. A gesture denoting a rejection of the over-consumption of products; a rejection that has been repeated infinitely since the last century, only with the unprecedented addition of digital technology to now contend with also.
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Image source: https://markhaylock.com/levis (accessed April 2021)
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HANDMADE CULTURE IN MODERN SOCIETY The continuous cycle, spanning this last century, of contented conformity of the general public followed by their rebellious individualism against a consumerist society was examined by Adam Curtis in his documentary, ‘The Century of the Self’. He described how the writings of Sigmund Freud, concerning the unconscious, were utilised by capitalists to transform advertisement entirely to target the desires of the masses rather than their needs, perpetually fulfilling their lives with endless products. Once this was recognised, a counterculture formed, during the 60s, practising individualism by rejecting any acceptance of assembly-line production. Inevitably however, manufacturers became cognisant that they could provide the vast amounts of products necessary for individuals to fulfil their longing for expression and identity with the introduction of mass-market production.16
In recent years, we have perhaps witnessed another recurrence of this cyclical sequence with a rise of thrifting and up-cycling within popular culture which undoubtedly contributes to the notion of the handmade.17 Although you could argue that this will be a fleeting trend, a trend that has coincided with the ever-increasing popularity of collecting vinyls, cassettes, Polaroids and other apparent grasps at retro nostalgia. It is undeniable that thrifting and DIY culture could be a reaction to fast fashion, its environmental impact and the exploitation of cheap, foreign labour as well as a collective rejection of global consumerism and capitalism, with the added benefit of the desirable individualism it often provides with the opportunity to obtain more unique items.
Nevertheless, we must address the opposition between the poetically crafted, handmade item and the machine-made object once more. Within one of Martin Heidegger’s most seminal pieces of writing, ‘What is a Thing?’, he presented the Thing Theory and discussed the distinguishable differences between objects and things.
Adam Curtis, The Century of the Self, BBC, March 2002. Nanditha Nair, Rise of Thrifting: Solution to Fast Fashion or Stealing from the Poor, Berkeley Economic Review, November 2019, website: https://econreview.berkeley.edu/rise-of-thrifting-solutionto-fast-fashion-or-stealing-from-the-poor/ (accessed April 2021) 16 17
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But things are also compliant and modest in number, compared with the countless objects everywhere of equal value.18
Direct parallels can be drawn from his concept of ‘thingness’;19 the handmade labelled the thing and the mass-manufactured delegated to object. Bruno Latour expands on Heidegger’s ideas by stating that, ‘the latter is abandoned to the empty mastery of science and technology, only the former, cradled in the respectful idiom of art, craftsmanship, and poetry, could deploy and gather its rich set of connections.’20 Our enthrallment with, and consequently our overconsumption of, the mass-produced object is remedied by our idolisation of the individuality of the handmade.
With the youngest generations in society demonstrating high levels of cultural, environmental and political awareness accompanied with, and assisted by, the exponential acceleration of a technological society, it is unsurprising that we are observing another repetition of the cycle discussed previously. This reiteration differs however, because while we acknowledge that craftsmanship appeals to our aspiration for ethical consumption, ‘technology remains an “object” of our desire.’21 McGuirk, continues:
While we still covet our shiny machine-made technological objects, we feel conflicted about them. Our consumption is more self-aware, more neurotic than it used to be – we know some Chinese labourer has probably been exploited in their production, we know they’ll end up as landfill… The beauty of craftsmanship, however, is that we can lust after it with no inner conflict. As a society, we place craft on a pedestal in part because it makes us feel better about ourselves.22
It is evident that with the induction and consequent dissemination of digital technology into the everyday, we have discovered a new object to occupy our adoration. The divergence on this occasion, however, lies within the simultaneity of our hypocritical consumption and the conscious acknowledgement of said hypocritical consumption.
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Martin Heidegger, What is a Thing?, trans. W. B. Barton Jr., Vera Deutsch, Henry Regnery, 1970, p. 180. 19 Ibid. 20 Bruno Latour, Why has Critique Run out of Steam? From Matters of Fact to Matters of Concern, Critical Enquiry 30, University of Chicago Press, Winter 2004, p. 233. 21 J. McGuirk, Craft Fetishism: From objects to things, Disegno, 2012, website: http://justinmcguirk.com/craft-fetishism-objects-things (accessed April 2021) 22 Ibid, emphasis not my own.
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CRAFT, COPIES AND CRAFTED COPIES
The continuous opposition between the handmade and the digital world has become increasingly apparent in recent years. It is supposed today that we consume approximately 4,000 to 10,000 images of digital advertisement each day, and so, consequently, we encounter more images in a single day than previous cultures would have experienced in their entire lifetimes.23
In his most notable piece of writing, ‘Simulacra and Simulation’, Jean Baudrillard investigates the significance of proliferating imagery and reproductions, the signs they convey and the point at which these signs are threatened by impending simulacra. He states that the omnipresence of imagery creates a ‘system of signs,’24 in which a false perception of what is reality may eclipse the reality itself. Baudrillard goes on to outline the four stages of reproduction in which an image can be placed; the four successive phases of the image are as follows:
It is the reflection of a profound reality; It masks and denatures a profound reality; It masks the absence of a profound reality; It has no relation to any reality whatsoever: it is its own pure simulacra.25
It is understood that the first phase is a faithful copy, a ‘good appearance’, a reproduction that truthfully reflects reality. Second, is a copy that has ‘an evil appearance’, that is to say a reproduction that does not truthfully depict reality. Thirdly, a reproduction that attempts to conceal the fact that it is not at all reality; it ‘plays at being an appearance’. The fourth and final phase states that this copy possesses no original, no basis in reality and therefore is to be considered entirely simulation.26
Jon Simpson, Finding Brand Success in The Digital World, Forbes, 2017, website: https://www.forbes.com/sites/forbesagencycouncil/2017/08/25/finding-brand-success-in-the-digitalworld/?sh=11ae57ad626e (accessed April 2021) 24 Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser, The University of Michigan Press, 1994, p. 2. 25 Ibid, p. 6. 26 Ibid, p. 6. 23
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Using the particular piece named, ‘To Fix the Image in Memory’, I would like to introduce the artist Vija Celmins to exemplify the question of copies. Furthermore, as a fellow artist who has concerned herself with imitation and simulation, I will also deduce comparisons to Susan Collis’ work.
Vija Celmins, To Fix the Image in Memory, 1977-82, stones, painted bronze, dimensions variable.27
As seen above, the piece consists of 22 components: 11 of which are real rocks discovered and collected by Celmins herself, while the remaining 11 are in fact rendered from bronze. By casting the stones and creating bronze counterparts before meticulously painting the surfaces with exact precision, Celmins created reproductions that are unidentifiable from the originals. To contrast, I have selected Susan Collis’ ‘Jimmy’, to demonstrate how these two examples of copies compare and what that means for their respective placement into Baudrillard’s phases of the image.
27
Image source: https://www.moma.org/collection/works/100210 (accessed April 2021)
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Susan Collis, Jimmy, 2010, coloured biro inks, graphite, paper, 50 x 32.5 x 28cm.28
28
Image source: http://www.seventeengallery.com/artists/susan-collis/ (accessed April 2021)
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Composed simply of paper, biro and graphite, Collis created an object that, from afar, appears only as a laundry bag. Upon closer inspection however, there is an inevitable realisation that the object is not merely a laundry bag, but a reproduction of a laundry bag, once more emphasising the patient and perseverant nature of the artist’s practice.
In order to determine a position for these two artworks in Baudrillard’s four phases of the image, it is necessary to acknowledge the manner in which they differ. Both pieces utilise materials different to the originals, the rocks and the laundry bag. Furthermore, both pieces have been fabricated directly from the hands of their respective maker, Celmins creating casts from the original rocks before attentively painting the copies by hand, and Collis drawing every stitch onto the surface of the paper. Celmins herself confirms the importance of this when she states that her process was ‘to affirm the act of making: the act of looking and making as a primal act of art.’29 The fundamental distinction between the two, however, is that Collis presents her single copy in complete solitude and anticipation to be mistaken for the real. Whilst Celmins, on the other hand, places her copies within the company of the originals, with the aim to disguise them among the real, rendering it impossible to identify the real from the reproduction. Thus, the latter situates the copies adjacent to the originals; the former imitates the original entirely. Therefore, we can conclude that while Celmins’ work falls within the first phase of Baudrillard’s order, a faithful copy, Collis’ is placed within the third phase, a copy that attempts to disguise the fact that it is not the original.
These copies exemplify the notion in which our perception of what is original, of what is reality, can be deceived. Dependant on the phase within which the reproduction in question falls, our understanding of the real could be distorted by a negative representation.
Returning to the inquiry of digital media, Baudrillard further explored the function of the copies we confront in everyday life, stating that, ‘we live in a world where there is more and more information, and less and less meaning.’30 With the accelerating dissemination of digital images and information, and therefore digital copies and misinformation also, an inevitable increase has occurred in digital advertising and propaganda as well as the cultural phenomena
The Museum of Modern Art, Vija Celmins: To Fix the Image in Memory, 1977-82, MoMA, 2006, website: https://www.moma.org/collection/works/100210 (accessed April 2021) 30 J. Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser, The University of Michigan Press, 1994, p. 79. 29
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known as ‘fake news’.31 Our collective dependence on digital media ensures that our reality is mediated by the information and images we consume. The danger, however, between the crafted copies discussed previously and the ubiquitous digital copies we encounter daily is that the handmade has materiality – the digital does not.
University of Michigan Library, “Fake News”, Lies and Propaganda: How to Sort Fact from Fiction, Jan 2021, website: https://guides.lib.umich.edu/fakenews (accessed April 2021) 31
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IN CONTENTION WITH THE DIGITAL While we find ourselves battling the effects of a digital society on our comprehension of reality, artists such as Ann Hamilton have tasked themselves with discovering methods in which to parry its impacts. Employing an emphasis on a textile practice, Hamilton claims that, ‘the tactile keeps us present.’32 It is perhaps the reason for why this medium is so valuable to artists like Hamilton, for it provides the tactility that the digital world so lacks.
Ann Hamilton, The Event of a Thread, 2013, installation, James Ewing.33
‘The Event of a Thread’ was an immense, immersive installation piece. Taking place over several days, Hamilton explains in the press release that, ‘we attend the presence of the tactile and perhaps most importantly – we attend to each other.’34 The many intertwining and temporal components encouraged the participants to attend to their own presence in reality.
Ann Hamilton, ‘The Event of a Thread’, 2012, p. 8, website: https://www.annhamiltonstudio.com/images/projects/armory/AHamilton_armory_pkg_final_full_res_pu blic.pdf (accessed April 2021) 33 Image source: https://www.armoryonpark.org/photo_gallery/slideshow/ann_hamilton (accessed April 2021) 34 A. Hamilton, ‘The Event of a Thread’, 2012, p. 7, website: https://www.annhamiltonstudio.com/images/projects/armory/AHamilton_armory_pkg_final_full_res_pu blic.pdf (accessed April 2021) 32
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It was Heidegger that declared, ‘all distances in time and space are shrinking,’35 due to the relentless influence of digital technologies – the immediacy of the Internet enables infinite quantities of information to be disseminated around the globe in seconds. Hamilton proposes a ‘resetting [of] our sense of time,’36 as she encourages sensual interaction between participant and installation, thus contributing a mode in which to situate oneself within the present moment.
If it is materiality that separates the handmade from the digital, we must use that tactility to provide, as Sennet states, ‘an anchor in material reality,’37 as well as an opportunity to reconnect to a world that is becoming increasingly distanced from us because of the ubiquitous nature of digital technology.
M. Heidegger, What is a Thing?, trans. W. B. Barton Jr., Vera Deutsch, Henry Regnery, 1970, p. 163. 36 S. Harvey-Brown, Textile Art – a tactile interface in a digital world, The Loom Room, 2013, website: https://www.theloomroom.co.uk/textile-art-a-tactile-interface-in-a-digital-world (accessed April 2021), edited for grammatical purposes. 37 R. Sennet, The Craftsman, Penguin Books, 2006, p. 11. 35
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CONCLUSION To conclude, this essay has illustrated the role of the handmade in contemporary society, particularly with regards to the inception and consequent escalation in digital technology we have experienced. I have evaluated the value of craft within the art industry as well as in wider society by introducing the work of Susan Collis and referencing Martin Heidegger’s Thing Theory respectively. Furthermore, using the writing of Jean Baudrillard and the work of Ann Hamilton, I outlined the notion of copies, enabled by the availability of the Internet, the way in which digital media composes our understanding of reality and finally, the method in which we may use tactile practices to counter this.
I began this essay by discussing the value of craft in isolation to this present digital era, invoking ideas of quality, as well as time, effort and contemplation. Establishing the maker within the making, the age-old question of automated production compared with handcraft was brought to attention and the subject of authorship and authenticity was discussed. I referenced Alexander McQueen and Levi’s to exemplify the way in which high-end and mass-production based brands use advertising to re-instate the maker within the process, contributing to the craft-fetishism that has become increasingly prevalent in recent years.
Second, I examined handmade culture within current society as well as previous cycles of apparent countercultures rejecting mass-production in the 20th century, thus situating craftbased activities within the wider context of this period of modern, technological and digital advancement. The question of man versus machine was encountered once more and through the lens of Heidegger’s Thing Theory, comparisons were drawn between his writing of objects and things and our consideration of the handmade and the digital. It was discovered that the multiplicity of objects and the individuality of things directly paralleled the multiplicity of the digital and the individuality of the handmade. I concluded this section by highlighting our adoration of the handmade and regretful, but conscious, over-saturation of digital media which has consequently taken the baton from mass-produced objects in facilitating the engrossing of our desires.
As our consumption of the Internet begins to eclipse our consumption of physical products, the issue of proliferating images was raised as I continued this essay by discussing the four phases of the image outlined by Baudrillard in ‘Simulacra and Simulation’. Utilising the work of Vija Celmins and Susan Collis, I demonstrated the different stages of reproduction and what
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this meant for the way in which images and copies compose our understanding of reality in quotidian life.
Finally, by conducting this essay, I have explored the way in which we can use tactile practices in art to reconnect to the present moment. As Bertrand Russell states, ‘it is touch that gives us our sense of “reality”,’38 a sense of reality that has become increasingly threatened by our reliance on and credulity of digital media. Awareness of the sense of touch has only been elevated during this global pandemic and so we have an opportunity to use this heightened consciousness to reconsider the importance of tactility in confirming our existence in present reality.
38
Bertrand Russell, ABC of Relativity, Routledge, 1925, p. 2.
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BIBLIOGRAPHY
Books Jean Baudrillard, Simulacra and Simulation, trans. Sheila Faria Glaser, The University of Michigan Press, 1994. John Berger, Ways of Seeing, Penguin, 1972. Martin Heidegger, What is a Thing?, trans. W. B. Barton Jr., Vera Deutsch, Henry Regnery, 1970. Bertrand Russell, ABC of Relativity, Routledge, 1925.
Richard Sennett, The Craftsman, Penguin Books, 2008.
Journals Leah Buechley, Amit Zoran, Hybrid Reassemblage: An Exploration of Craft, Digital Fabrication and Artifact Uniqueness, Leonardo 46, The MIT Press, 2013. Gail Kenning, Creative Craft-Based Textile Activity in the Age of Digital Systems and Practices, Leonardo (Oxford) 48, The MIT Press, October 2015. Bruno Latour, Why has Critique Run out of Steam? From Matters of Fact to Matters of Concern, Critical Enquiry 30, University of Chicago Press, Winter 2004. Werner Schweibenz, The Work of Art in the Age of Digital Reproduction, Museum International 70, 2018.
Documentaries Adam Curtis, The Century of the Self, BBC, March 2002. John Berger, Ways of Seeing, BBC, January 1972.
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Websites Ryan M. Frischmann, Learning Skills: How long does it take?, 2016, website: https://hrdailyadvisor.blr.com/2016/10/13/learning-skills-long-take/ (accessed April 2021) Ann Hamilton, The Event of a Thread, 2012, website: https://www.annhamiltonstudio.com/images/projects/armory/AHamilton_armory_pkg_final_fu ll_res_public.pdf (accessed April 2021) Stacey Harvey-Brown, Textile Art – a tactile interface in a digital world, The Loom Room, 2013, website: https://www.theloomroom.co.uk/textile-art-a-tactile-interface-in-a-digital-world (accessed April 2021) Guy Horton, The Indicator: Craft in the Digital Age, ArchDaily, 2013, website: https://www.archdaily.com/332525/the-indicator-craft-in-the-digital-age (accessed April 2021) Justin McGuirk, Craft Fetishism, The Guardian, 2011, website: http://justinmcguirk.com/craftfetishism (accessed April 2021) Justin McGuirk, Craft Fetishism: From objects to things, Disegno, 2012, website: http://justinmcguirk.com/craft-fetishism-objects-things (accessed April 2021) The Museum of Modern Art, Vija Celmins: To Fix the Image in Memory, 1977-82, MoMA, 2006, website: https://www.moma.org/collection/works/100210 (accessed April 2021) Nanditha Nair, Rise of Thrifting: Solution to Fast Fashion or Stealing from the Poor, Berkeley Economic Review, November 2019, website: https://econreview.berkeley.edu/rise-of-thriftingsolution-to-fast-fashion-or-stealing-from-the-poor/ (accessed April 2021) Jon Simpson, Finding Brand Success in The Digital World, Forbes, 2017, website: https://www.forbes.com/sites/forbesagencycouncil/2017/08/25/finding-brand-success-in-thedigital-world/?sh=11ae57ad626e (accessed April 2021) University of Michigan Library, “Fake News”, Lies and Propaganda: How to Sort Fact from Fiction, Jan 2021, website: https://guides.lib.umich.edu/fakenews (accessed April 2021)
Illustrations: http://www.seventeengallery.com/artists/susan-collis/ (accessed April 2021) https://www.instagram.com/alexandermcqueen/ (accessed April 2021) https://markhaylock.com/levis (accessed April 2021) https://www.moma.org/collection/works/100210 (accessed April 2021) https://www.armoryonpark.org/photo_gallery/slideshow/ann_hamilton (accessed April 2021)
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TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // 29 25 TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT // TEMENT // ARTSIST STATEMENT //
MOLLY PEMBERTON With a heavy emphasis on the handmade, my practice explores the notion in which the escalation in digital technology composes our understanding of reality. I aim to convey the way in which we can utilise craft-based activities to emphasise tactility and materiality, for it is this that separates the handmade from the digital. Most recently, my practice has concerned itself with tackling the proliferation of digital imagery enabled by the availability and immediacy of the Internet and the way in which these images mediate reality. Influenced by Jean Baudrillard’s writing, my recent work has questioned the impact of deteriorating images and information disseminated online and the transformation such reproductions may cause to the meaning of originals. Taking inspiration from science fiction and dystopias, its imagery, colour palettes and themes emerge throughout my practice. Typically, my work materialises as documentative and durational objects of the colour red which aim to highlight the mundanity and monotony as well as, by contrast, the fascinating and formidable extraordinariness of this digital age.
PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU PORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STU
THE PROCESS OF THE PRACTICE MOLLY PEMBERTON MOLLY PEMBERTON MOLLY PEMBERTON MOLLY PEMBERTON MOLLY PEMBERTON MOLLY PEMBERTON MOLLY PEMBERTON MOLLY PEMBERTON
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IO REPORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPOR
CONTENT
Preface………………………………………………..…………...28 Introduction 1. Where to Begin? ………………………………………29 2. Outlining the Problem……………………..………….30 Handmade – The Value of Craft 3. Broadening the Research……………..….………….30 4. Artist Inspiration……………………….….….………..31 5. Responding to the Research….……..….…………...33 6. Ongoing Projects………………………….…………..33 Digital – Images and Reproductions 7. Narrowing Down the Enquiry………….……………..34 8. Artist Inspiration…………………….…………………35 9. The Chinese Whisper Books……….………………..37 Process – Duration and Documentation 10. Reflecting on my Process…………………………….41 11. Ongoing Projects……………………………………...41 12. Artist Inspiration……………………………………….43 13. New Project……………………………………………45 14. Artist Inspiration……………………………………….46 Final Works 15. Untitled, 2018-21……………………………………...47 16. The Chinese Whisper Books, 2020-21……………..48 17. Les Traductions, 2021………………………………..49 Conclusion 18. To Conclude and Reflect…………………..………...50
How will this Studio Report read? Having a practice that relies heavily on the handmade process, the presentation of this Studio Report will follow, echoing the chronology of my practice and its process throughout this last year.
UDIO REPORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT // STUDIO REPORT
Why red? The colour palette I use within my work is integral to my practice – it was in fact the starting point. I work to colour palettes because I enjoy the cohesion, but furthermore, my choice of red alludes to my interest in and continual reference of science fictions and dystopias within my work.
PREFACE
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1. WHERE TO BEGIN?
INTRODUCTION At the end of my second year at university, I found myself at a pivotal point within my practice. In the preceding year, I had produced work which placed the handmade in opposition to the digital world; utilising my textile-based practice to emphasise tactility - a tactility the digital world lacks. Philosophy had also begun to inform my practice as I questioned the way in which the ubiquity of digital technology impacted our perceptions of reality.
‘Handmade vs. Technology’, analogue photography series, 2020
‘Tactility’, paint on canvas, photographic prints, 2020
‘In Touch with Reality’, embroidery on leather, 2020
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As the global pandemic took hold of quotidian life, we found ourselves increasingly reliant on digital technology, to not only entertain us in lockdowns but to also ensure we were connected and well-informed. In addition, the rejuvenation of the Black Lives Matter movement over the summer only highlighted further the importance of social media in our efforts to remain cognisant throughout the protests.
3. OUTLINING THE PROBLEM
Upon reflection, I found it increasingly necessary to acknowledge and potentially reconfigure my stance on the digital within my practice. At the least, I felt it imperative that I banish any ambiguity within my writing of my work which, consequently, may have led to the implication that I have a negative opinion of digital technology - for I of course do not deny the benefits of the digital world and its role in keeping the world afloat during current times. I concluded that I needed to narrow down my reference of the digital and thus specify the issues in which to concern my practice with.
HANDMADE – THE VALUE OF CRAFT
2. BROADENING THE RESEARCH
While contending with the how to criticise the omnipresent yet ever so essential digital world, I tasked myself with strengthening the craft-intrigued part of my practice. Reading books such as ‘The Craftsman’ by Richard Sennet and ‘Playing to The Gallery’ by Grayson Perry sparked an enquiry into where craft lies within the art world. Articles written by Justin McGuirk on the subject of craft fetishism also informed both my practice and my essay in terms of the dialogue and wider context surrounding craft-based activities.
Left: Richard Sennet’s The Craftsman Right: Grayson Perry’s Playing to the Gallery
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4. ARTIST INSPIRATION
I found inspiration in the following artists and their respective tactile practices. Each of these artists’ approach to their work includes an emphasis on craft and the sense of touch, whether it be through the materials they use, the evidence of the hand or by the experiences the work invokes.
Susan Collis
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Rosalyn Driscoll
Ann Hamilton
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5. RESPONDING TO THE RESEARCH
In response to my findings, I wanted to make a piece of work that placed a craft technique at the centre. I began knitting red wool together with the intention of making a sculptural art object out of its form.
Left: close up of knitting piece in progress, right: initial idea sketch
6. ONGOING PROJECTS
At this point in my practice, I had several ongoing pieces of work. First, was the knitting piece, as seen above, and second, was my bus ticket piece.
Ongoing bus ticket piece
Often referred to as a tapestry, this piece commenced in my first year and operates as somewhat of a time capsule for my time commuting into the city to attend university. Initially, I would record, and visually represent on the ticket, the song I was listening to as I boarded the bus. However, over time, this has evolved into the documentation of my surroundings, headlines of the day, the page number of the book I was reading on the bus and most recently, the pandemic.
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My task this year has been to determine how to continue this piece as reduce my travel into university and thus my opportunities to obtain bus tickets. Undoubtedly, this is an important period of time to document and so I decided to continue by creating my own tickets out of till roll. My final problem, as always, was to consider the notion in which to visually portray this time as well as the information to record onto the tickets.
DIGITAL – IMAGES AND REPRODUCTIONS Returning to my first-year essay, on the subject of Jean Baudrillard’s four phases of the image, I had found the aspect in which to contextually focus my practice on in terms of the digital world.
7. NARROWING DOWN THE ENQUIRY
I decided I wanted to focus my work on reproductions and originals and the impact this has on the dissemination of information and meaning. Within the context of my work, this required enquiry into digital imagery and the role of digital technology in its proliferation.
Illustration of Plato’s Allegory of the Cave
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8. ARTIST INSPIRATION
Here are some of the artists that informed this part of my enquiry, particularly with regards to questioning the notion of reproductions within the context of an artwork, as well as reiterating the relevancy of a craft-based practice.
Joseph Kosuth, ‘One and Three Chairs’, 1965
Left: René Magritte, ‘Ceci N’est Pas Une Pomme’, 1964 Right: René Magritte, ‘La Trahison des Images’, 1928-29
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Vija Celmins, ‘To Fix the Image in Memory’, 1977-82
Left: Walker Evans, ‘Alabama Tenant Farmer Wife’, 1936 Middle: Sherrie Levine, ‘After Walker Evans’, 1981
Susan Collis, ‘By the way’, 2017
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9. THE CHINESE WHISPER BOOKS
To demonstrate the role reproductions play in our overconsumption of digital imagery, I created a series of handmade books in which I produced a series of drawings. Consisting of six books in total, one book and one image for each month. Each day presented a new page with a new drawing - a copy of the previous drawing. Chinese Whispers, as it were, but with drawings. With each iteration, the image altered marginally, perhaps undetected at the time however it resulted in the final image being unrecognisable from the first. Every stage of each book, from producing the paper to binding the pages together to drawing an image each day, included an action of the hand, reinstating the importance of the handmade within a society enthralled by digital media.
‘The Chinese Whisper Books’, pen on paper, embroidery, 2020-21
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Left: initial idea and sketch for The Chinese Whisper Books Right: reflection on progress during the first book
Paper-making process
Book-binding process
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First drawing
This page and the following page display the contents of the books, specifically the first and last drawing of each, demonstrating the amount of divergence each image underwent.
June/July
August
September
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Last drawing
First drawing
Last drawing
October
November
December
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10. REFLECTING ON MY PROCESS
PROCESS – DURATION AND DOCUMENTATION It occurs to me that nearly all of the work I have produced this year was not only taken out over longer periods of time but were also worked on simultaneously. Due to the sheer amount of time I can spend on a piece, I am consequently not the most prolific artist, and this has only exasperated during the several lockdowns this academic year has faced. However, having several projects to work on at a single time as definitely aided my productivity in a year where such has been scarce. This year, I have become increasingly aware of the durational and documentational inclinations I have within my work and I believe this only compliments a handmade practice, specifically because it highlights further the time, attention and craft taken to create such work.
11. ONGOING PROJECTS
After finally completing the piece of knitting mentioned earlier, I attempted to mould it into a random form by submerging it in a solution of glue and water, however, this attempt was unsuccessful.
Knitting piece
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Above: collage depiction of progress on bus ticket piece (studios and existing bus ticket panels inaccessible due to 3rd lockdown) Below: close ups of newer additions to the piece
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12. ARTIST INSPIRATION
Some of the artists and artworks that have influenced my bus ticket piece, questioning the notion of time and repetitive documentation.
El Anatsui
Voluspa Jarpa
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Marco Godinho, ‘Written By Water’, 2019
Tehching Hsieh, ‘Time Clock Piece (One Year Performance)’, 1980-81
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13. NEW PROJECTS
After tutorials with several tutors encouraging me to use more of my writing within my work, I decided to create one final instalment to the Chinese Whisper book series. However, this time utilising words and translation rather than images to demonstrate the deterioration of meaning through the act of copying.
Left: 2nd attempt at making red paper Right: initial ideas for the translations, including binary and tactile languages
Due to time restraints and fast approaching deadlines, I created a series of lone pages on which my translations were held. Leaning into the concept of dystopia, I believe they succeed as appearing as found objects or artefacts. Using mechanical techniques such as hand stamping and embroidery, I once more implied the importance of the artist’s hand while also referencing the previous Chinese Whisper books with red-on-red copies of their line drawings. Materialising as animated gifs for the exhibition, I have an inner battle debating whether the finalised gif is the work or the pages themselves, and whether the differentiation even matters.
Left: a page from ‘Les Traductions’
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The following book and text artists influenced the aesthetic of the presentation of my translations.
14. ARTIST INSPIRATION
Susan howe
Rachel Smith
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15. UTITLED, (2018-21)
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FINAL WORKS
16. THE CHINESE WHISPER BOOKS, (2020-21)
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17. LES TRADUCTIONS, (2021)
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CONCLUSION This year, I began by undertaking research into the significance of craft, particularly within the art world as well as within this wider digital era. In doing so, I better understood the context within which my work lies.
18. TO CONCLUDE AND REFLECT
I dedicated my time to creating work on the subject of the dissemination of digital imagery and information, and the role digital media plays in deforming and degrading, consequently transforming original meaning. For my practice, my greatest obstacle has been to overcome the difficulty of making work about the deterioration of digital imagery, through the act of reproduction, when my work itself can only be presented as digital imagery. I perhaps learnt, by the end of the year, to lean into this inevitable irony, even utilising the digital to demonstrate more clearly the act of copying. Making work that was originally intended to only be displayed in person, not to be viewed on a screen, I found that in the form of animated gifs for example, the nuance of slight alteration is amplified. To reflect, I believe I have become more comfortable with using digital technology in my work as I concluded that it is not a battle or competition between the handmade and the digital, good and evil, but to simply view it as a necessary equilibrium, for the digital is here to stay.
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