Second Novelty at Square Pier - STORE - University of Staffordshire Online Repository

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KEY, Sarah (2014) Second Novelty at Square Pier. [Artefact]

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(detail) e-invite.jpg - Supplemental Material
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[thumbnail of Artefact (giclee print) for Detail.jpg]

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[thumbnail of Artefact in situ, Detail, Bangkok.jpg]

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[thumbnail of Artefact in situ, Enclosures, Elsewhere, Lion + Lamb.jpg]

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[thumbnail of Artwork, The Second Novelty at Square Pier, 61x61cm, 2014, acrylic on panel.jpg]

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Belonging to a body of work exploring pictorial deterritorialization

Item Type:	Artefact
Additional Information:	This artwork (acrylic on panel) is one of a group of paintings forming a bridge between specific research questions exploring explicitly figurative imagery to more oblique referencing of the figure within ostensibly abstract visual languages. It represents a shift in the research from one type of spatial interrogation (within the formal space of painting) to another. Using the critical framework of deterritorialization to explore pictorial elements as transitional in terms of ascribed meaning: The methodology also appropriated source material from a range of historical and cultural contexts. Second Novelty uses imagery, motif and text (in the titling) in a method that combines place, object and sign in a space that is unburdened by the rules of gravity; and where there is a deliberate discontinuity in the relationship between forms. Source material for this work included images of medieval instruments of torture and whilst the explicit subject of torture is removed from the painting, new meanings and sensations are produced through the artwork that allude to conditions of fear. The psychology of the uncanny has a critical bearing on the development of ideas underpinning this research. This original artwork was disseminated in Enclosures, Elsewhere . A giclee print of a detail from the painting was displayed in the exhibition (detail) “Deterritorialization is a way to break down legitimized areas of signification, using a word, or a pictorial element, in such a way as to direct attention from the denotative meaning of a sign to the “act,” or the state of transition in which things remain perpetually unformulated. Deleuze and Guattari introduced this term in their book Kafka: Toward a Minor Literature (1975).” - Painting at the Edge of the World, Edited by Douglas Fogle. Essay New Openings in Japanese Painting, p.49), Midori Matsui, 2001 On the Psychology of the Uncanny, Ernst Jentsch, 1906 Enclosures, Elsewhere, curated by James Fisher, Lion + Lamb, 29th March- 19th April 2014 (detail), curated by Andrew Bracey. H Project Space, Bangkok, June 5th-July 6th2014, touring to Transition Gallery, London and Usher Gallery, Lincoln
Faculty:	School of Creative Arts and Engineering > Art and Design
Depositing User:	Library STORE team
Date Deposited:	01 Feb 2019 11:14
Last Modified:	24 Feb 2023 13:54
URI:	https://eprints.staffs.ac.uk/id/eprint/5207

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