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Vessel

BRANTHWAITE, Michael (2015) Vessel. [Artefact]

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Item Type: Artefact
Additional Information: Vessel was developed in the context of the exhibition 3D Glitch, with the curatorial imperative addressing an age obsessed with digital perfection through an exploration of the anti-perfect. (Hutchinson, 2016). The work explored how access to 3DME consumer technology, via major Supermarkets, could be used by artists to further explore digital surrogates, as alternatives material culture, and how the object may be received via alternative means of manufacture. Exploring the notion of authenticity, the work sets out to use the artist as a ‘vessel’ to carry a handmade item whilst being digitally scanned, thus the artists is represented as a carrier both conceptually and physically. The artist created a handmade object in clay, to signify another, more conventional idea of vessel. The artist was scanned, holding the clay vessel, using the public service offered by a major supermarket, this combined both into one original work constituted of both artist and object. The outcome, a colour 3D Print, is intended to draw scrutiny to the idea of the authenticity and how an original art work might be presented as ersatz (Adorno 1956) where by the ‘fake’ is passed as the original. As the artist and object are both presented as one composite item, rendered equal, the authenticity of each element is brought into question. The artefact is presented on the edge of a small shelf at height to mimics the way in which digital file can be easily moved around on screen, quickly making impossible situation likely, and vis versa. The methods used are chosen specifically as they have the particular attributes needed to address the conceptual imperatives of the work; handmade original, reproduction and display, that dislocates the object from the conventions of exhibitions by purposefully placing the work on the periphery of the exhibition space. ‘Vessel’ offers a novel contribution to contemporary discourse regarding digital methods of addressing and experiencing materiality. Simultaneously it critiques the idea of originality via the intervention of a handmade object as a direct reproduction of an original, intentionally giving the reproduction status over the original to question hierarchy of direct material experience.
Faculty: School of Creative Arts and Engineering > Art and Design
Event Location: Priestman Gallery, Sunderland University, UK; Ny Space Manchester,UK; Washington Art Centre. Tyne and Wear, UK; Drugo More. Rijeka, Croatia.
Depositing User: Michael BRANTHWAITE
Date Deposited: 19 Dec 2018 16:36
Last Modified: 08 Jan 2019 10:43
URI: http://eprints.staffs.ac.uk/id/eprint/5058

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