Visual Arts
Permanent URI for this collection
Browse
Browsing Visual Arts by Subject "Affect"
Now showing 1 - 5 of 5
Results Per Page
Sort Options
Item Open Access Body, Mat, Mark-Making(2015-08-28) Harber, Scott; Lau, Yam K.I explore painting and drawing through a binding of its performative activity with the practice of Brazilian Jiu-jitsu. Constraints are put in place to impose constant and abrupt switching between mark-making and grappling activity. The repetition involved in this structure fuses these two distinct activities into one. The experience of mushin (no-mind), a state one enters when deeply immersed in martial art activity, overlaps into the process of mark-making. This experience of mark-making subsequently influences the activity on the mat. Affect, as a pre-cognitive entity, participates alongside conscious activity in this feedback loop of influences. From this view, I revisit the idea of constraint and mushin. The resulting works depict fragmented bodies-in-process, produced under a state of mushin that involves the constrained combination of unconscious and conscious, mental and bodily influences.Item Open Access Nice to "Meet" You(2015-08-28) Pantieras, Christos; Yates, Kevin M.This paper accompanies the key manifestation of my research at York University: the solo thesis exhibition entitled, Nice to ‘Meet’ You, installed at Gales Gallery from March 30th to April 3rd, 2015. My research explores how we interact through social media and online platforms, and the desire to make a connection with one another. Through a contextualization of my studio practice this paper provides an overview of my thesis exhibition and addresses how my work is a reflection on how we interact online when seeking out an intimate connection. What remains as a relational artifact when correspondence is broken? What is the ongoing story after ‘delete’? Is it ever truly over?Item Open Access Of Becoming(2014-07-28) Grisey, Mary Gayle; Singer, YvonneThis thesis will outline my material processes, ideas and concepts during my studies at York University’s MFA in Visual Arts. I briefly discuss weaving and women in mythology and history, and connect my work to that of contemporary artists situated in the practice of weaving. I then describe my art-making process and discuss artists who also use methods based on destructive techniques and intuition. Finally, I discuss concepts that are pertinent within my art practice: archaeology, psychology, the emotional body, the uncanny, haunting and sticky auras.Item Open Access Rhythm and the Monstrous: A Diary Manifesto for Oil Painters(2015-08-28) Wing-Hann Wong, Amy; Jones, Janet A.The invisible threads that form identity politics are especially messy today. Through the lens of a transnational/intersectional/feminist sensibility, my thesis paper and body of work weaves influences from both visual and music culture. Socio-political agency is explored through reconfiguration. Both thesis and artwork are informed by the organizational principles of collage logic - specifically through the contrast in texture and rhythm, and employing the notion of the monster as a harmony of incongruence.Item Open Access What Isn't There: Imaging Palestine(2015-08-29) Flanders, Ellen Ruth; Daigneault, MichelWhat Isn’t There is a research project that considers the possibility of creating an image of Palestine by documenting the 418 Palestinian villages that were erased with the establishment of the State of Israel. The work has taken many forms over a twenty-year period including: photography, film, sound and installation. At the heart of this project is a set of interwoven questions: Is an image of Palestine possible and what would constitute such an image? How do we consider the image if, as I argue, the realms of politics and art are not separate? In a world saturated by mediated images, what are the interventions we can make as artists not only to make meaning, but to make meaning matter? The film installation accompanying this dissertation is a four-screen film projection situated in an outdoor urban garden. The installation immerses the viewer in fifteen distinct landscapes that were once the locations of Palestinian villages. While these sites often contain little that reveal their origins, the placement of the installation, the repetition and juxtaposition of images all point to the imaging of Palestine.