Anyhow, you can learn more about Belmore's intention with the piece here:
or on facebook here:
Rebecca Belmore
During the "production" part of last week's class, a few of us were exploring the potential of pressing clay firmly into our hands. The play-doh occupied the negative space of the hand and made for interesting looking sculptural cuffs. I wanted to share Rebecca Belmore's Traces project, where she collected thousands of clay "beads" created by the force of human squeezes. There may be a parallel to be made with the "subjective form" and the "signature of an occasion" which was discussed in the reading, but I am still trying to wrap my head around these complex concepts.
Subscribe to:
Post Comments (Atom)
This is such a beautiful example! If cuffs trouble the relationship between adornment and form, reminding us that form is always more-than what is perceptible, then it seems to me that all cuffs carry a quality of the infrathin. But of course, the cuff is not THE infrathin, since infrathin is only ever what it does (not noun but verb). These clay-traces of Rebecca Belmore's are alive with the force of what was, and at the same time, they are absolutely what they are: they operate as schisms of future-pastness. Perhaps this is also what a speculative cuff can do?
ReplyDelete