Worlds All at Sea
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KEY, Sarah (2017) Worlds All at Sea. [Show/Exhibition]
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Nottingham Lakeside Arts, Dec-March 2017.pdf - Supplemental Material Available under License All Rights Reserved. Download (5MB) | Preview |
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Soundless Flight, 2015, gesso & ink on paper, 57x77 cm[1].jpg - Other Available under License All Rights Reserved. Download (3MB) | Preview |
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Purely In Her Head, 2015, gesso & ink on paper, 57x77cm.jpg - Other Available under License All Rights Reserved. Download (3MB) | Preview |
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Symbols Of The Vanished, 2015, ink & gesso on paper, 57x77cm.jpg - Other Available under License All Rights Reserved. Download (3MB) | Preview |
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Ianus Lost, 2016, ink, gesso and acrylic on paper, 110x160cm.jpg - Other Available under License All Rights Reserved. Download (4MB) | Preview |
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Houston We Have A Problem, 2016, ink, gesso and acrylic on paper, 110x160cms.jpg - Other Available under License All Rights Reserved. Download (4MB) | Preview |
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Sailors Reading Room, 2016, ink, gesso and acrylic on paper, 110x160cms.jpg - Other Available under License All Rights Reserved. Download (4MB) | Preview |
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(Doubting) An Untroubled Sleep, 2016, ink, gesso and acrylic on paper, 110x160cms.jpg - Other Available under License All Rights Reserved. Download (4MB) | Preview |
Abstract or description
Using contemporary drawing practices to mediate experiences of natural, cultural and political landscapes
| Item Type: | Show/Exhibition |
|---|---|
| Additional Information: | The proposition for this body of work was to use mediated experiences of the landscape to explore approaches to drawing, using projection as a method for both appropriation and compositional disruption. The unfolding events in Europe, the Syrian refugee crisis and human migration generally, impacted on the steer of this project. The aim; to use the immediacy of drawing to produce new meanings from a synthesis of existing cultural phenomena. The documentary film Patience (After Sebald) was the secondary source material used. Appropriate for its own mapping of visual experiences of landscape within a discursive socio-political narrative; and a poetic reading of The Rings of Saturn - itself a rhizomatic account of manifold political and cultural ideas within a fictional construct. This methodology allowed for multiple interpretations of a specific idea to emerge, with the film also acting as a foil to the realities of the exterior world where the critical context of the Contemporary Sublime also emerges in respect of the research imperatives. The ideas explored consider the desire (and impossibility) of withdrawing from the cultural world of things, alongside the potential consequences of passivity in the wake of cultural disaster. Made manifest in the imagery there remains unfixed any singular or discernable environment, where internal and external contexts remain interchangeable. The body of work was disseminated at Nottingham Lakeside Arts 18th Feb – 29th May 2017 Documentary film by Grant Gee, 2012 The Rings of Saturn, W.G.Sebald, 1995 “…that cultural signs, codes and representations are understood as producing our life-world and making it meaningful. In this context the importance of the concept of the sublime for contemporary discussions on art is that it addresses an unresolved problem within this social constructionist argument. For while we may no longer believe in eternal essences or values, we often sense that our lives are fashioned by forces beyond our control, which underpin and drive acts of thinking or representation.” The Contemporary Sublime, Simon Morley, 2010, Documents of Contemporary Art, Whitechapel Art Gallery |
| Faculty: | School of Creative Arts and Engineering > Art and Design |
| Event Title: | Worlds All at Sea |
| Event Location: | Nottingham Lakeside Arts |
| Event Dates: | 18th Feb – 29th May 2017 |
| Depositing User: | Library STORE team |
| Date Deposited: | 01 Feb 2019 11:09 |
| Last Modified: | 24 Feb 2023 13:53 |
| URI: | https://eprints.staffs.ac.uk/id/eprint/5206 |
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