A counter-hegemonic craft? Exploring the potency of porcelain in an anticolonial art practice

反霸权工艺？

• 批准号: 2597431
• 金额: --
• 依托单位: University of Westminster
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2597431
• 关键词: counter; hegemonic; craft; Exploring; potency

This practice-based research project will look at the affective potential of colonial commodities, with a particular focus on porcelain, to challenge the consensus on the history and legacy of empire. It will engage this line of enquiry from an aesthetic, philosophical, political and sociological perspective. My art practice, rooted in craft processes and the conceptual use of materials, will be both a testbed and exposé of the academic research, integral to its development and dissemination.I will explore the potency of porcelain, a colonial commodity laden with symbolic value, as a sculptural material, and to what extent it could be used to counter the dominant hegemonic, but precariously fragile and white, view of colonial history. This line of research is timely, pertinent and urgent. Now, more than ever, UK society needs to engage with racism, and I am interested in exploring how artists can contribute to this. As Paul Gilroy emphasises, "neither race nor racism are the exclusive historical property of the minorities who are their primary victims". Dismantling white supremacy and exposing the whitewashing of imperial history is not the job of people of colour. White people must do the work and recognise that racism is very much a contemporary problem. My aim is that this research will contribute to an "unlearning of imperialism", as Ariella Azoulay puts it. Her Potential History will be a crucial guide in my efforts in this project to disengage from imperialism's ways of knowing. My personal interest in making work about colonial history stems from my extended family's rich, but sometimes contentious, mix of backgrounds - ancestors from both sides of the colonial slavery divide; vocal nostalgia for empire vying with bouyant radical blackness. The conceptual use of the raw materials of imperial trade has been at the heart of my art practice for over 10 years. My approach to making art with colonial commodities is deeply engrained with craft thinking and I intend to use this discipline to develop an intimate affinity with these raw materials. I would like to develop research I began for my Masters dissertation at Goldsmiths College that explored the agency and affect of engaging with 'vibrant' matter. Porcelain will be the main reference, but I want to apply craft processes to access the affective vibrancy of bagasse, cotton, cochineal, copper, indigo, rubber, tea, sugar and salt. This will form the basis of my investigation into the entanglements and politically resonant discourses that their history and characteristics generate.Fetishised as it is by privileged Western collectors and makers, porcelain has a fraught symbolism that has not been adequately critiqued in accounts of its history. Its associations with power and privilege are skated over by Edmund de Waal in The White Road. But perhaps its very whiteness, perceived purity and raw fractiousness can both embody and contest political whiteness, making it an apt material for an artistic exposé of the whitewashing of colonial history.

这个基于实践的研究项目将着眼于殖民商品的情感潜力，特别关注政策林，以挑战对帝国历史和遗产的共识。它将从美学，哲学，政治和社会学角度参与这一探究。我的艺术实践植根于手工艺过程和材料的概念使用，将既是学术研究的测试床和展示，这是其发展和传播不可或缺的一部分。我将探索瓷器的效力，瓷器的效力，瓷器的效力，具有象征性的殖民地商品女士，作为雕刻材料，是一种雕刻材料，以及可以在多大程度上与以前的赫格米诺式抗位型和白人相抗衡，并在多大程度上使用了易变的白人和白人的经历。这一研究是及时，相关和紧迫的。现在，英国社会比以往任何时候都需要参与种族主义，我有兴趣探索艺术家如何为此做出贡献。正如保罗·吉尔罗伊（Paul Gilroy）强调的那样，“种族和种族主义都不是主要受害者的少数群体的独家历史财产”。拆除白人至上并揭露帝国历史的粉饰不是有色人种的工作。白人必须做工作，并认识到种族主义是当代问题。我的目的是，正如阿里埃拉·阿祖莱（Ariella Azoulay）所说，这项研究将有助于“帝国主义的学习”。她的潜在历史将是我在这个项目中脱离帝国主义认识方式的重要指南。我对从大家庭富有但有时有争议的背景混合的殖民历史植物进行工作的个人兴趣 - 来自殖民奴隶制的两面的祖先；帝国的声音怀旧与双重激进的黑人竞争。帝国贸易原材料的概念使用已成为我艺术实践的核心，已有10多年的历史了。我用殖民商品制作艺术的方法深深地扎根于手工艺思维，我打算使用这一学科来发展与这些原材料的亲密亲和力。我想开展研究，我在戈德史密斯学院（Goldsmiths College）的硕士论文开始研究，该学院探讨了与“充满活力”的事务的代理和影响。瓷器将是主要参考，但我想应用手工艺工艺来获取受影响的啤酒，棉花，煤炭，铜，铜，靛蓝，靛蓝，橡胶，茶，茶，糖，糖和盐的活力。这将构成我对纠缠和与政治相关的论述的投资的基础，其历史和特征会产生。由于特权西方的收藏家和制造商所征服的，瓷器的象征意义在其历史上并没有充分至关重要。它与权力和特权的关联由白路的埃德蒙·德·瓦尔（Edmund de Waal）滑过。但是，也许它的白色，感知到的纯洁和原始的脆弱性既可以体现又会竞争政治白人，从而使其成为艺术上的殖民历史粉饰的材料。