Same same but different: A creative investigation through ceramics and glass into women with neurodiversity who experience distorted body awareness/pe

相同但不同：通过陶瓷和玻璃对经历扭曲的身体意识/pe的神经多样性女性进行创造性调查

• 批准号: 2618754
• 金额: --
• 依托单位: University of Sunderland
• 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-2618754
• 关键词: Same; same; but; different; creative

The proposal is following on from my BA Ceramics in 1990 in which I investigated eating disorders and body image: Dissertation titled 'Images of weight' and my MA research into the relationship to self, body, environment: Title 'Humanity is experiencing a breakdown and loss of self: Does the creative process and especially clay, play an integral part in the reintegration and reparation of the self, other, world? This was born from my own lived experience and over 20 years working in the art and ceramics department of a Specialist college for young people with complex needs and an interest in phenomenology. This research aims to fill to a gap in the field with regards to arts practice and neurodiversity in women. In my research I would use my own lived experience and also engage case studies with neurodivergent women artists (in person or zoom) through the medium of clay to explore their association and relationship with their own body and agency, to identify whether the haptic creative process with clay can alleviate this unease and develop a more embodied experience. Ultimately I would develop a body of artwork based on the outcomes from this research, with the hope of answering why neurodivergent women fall under the radar of diagnosis? What leads them to experience distorted self/body awareness, disordered eating and hoarding? As part of the contextual review I would investigate relevant Museum collections and archives including The Wellcome Collection to establish if theses issue have been documented by artists in the past. I believe that early Upper Paleolithic figurative artefacts were created by women looking down at their own bodies in self realisation and exploring the idea of self and other; as embodiments of experience as described by Women of the world at the British museum women of the world blog https://blog.britishmuseum.org/women-of-the-world/ Often the work of female artists relates to unease, where the body is used as a metaphor and this can be seen in the work of Modern artists Lousie Bourgeois, who described her artistic process as 'Technologies of the self' Micheson. K. (2015) where she was re-creating her-self in tangible form, through domestic materials. Today, many female artists including Sarah Lucas, Jenny Saville and Rebecca Warren and glass artist Emma Woffenden create ambiguous figurative work, where hyper focus on body parts rather than wholes are used to emphasize sensation. The "Modernist period and even beyond, the visceral and vulnerable body is now a potent signifier of lived experience as well as a medium of formal aesthetic enquiry"(O'Reilly, 2009; 8] The Body is expressed as an object with agency and as a lived experience. Where there is fragmentation or the Western idea of Cartesian mind and body split there is an obsessive need for objects or feeding to define the self. Freud (1930) described this as 'The prosthetic god'. More recent research into Disordered eating. Springer (2017) Current psychology reports that "there is growing interest in the relationship between anorexia nervosa and autism spectrum disorder" and Political theorist Jane Bennett in Vibrant matter (2010) describes thingness, the agency of things or non human bodies and the special relationship that people with ADHD have with objects that they may have a deeper sensory awareness of the pull of the object or an affinity with the speed or slowness of things (2012) which could be one explanation for hoarding and eating disorders. She describes the agency of things, objects or food calling to the individual. "She understands the hoarder as uniquely able to heed the "call of things" thus eroding the boundaries between him/herself and challenging the entrenched duality between subject and object." Falkoff (2021) In a culture of dualities, us and them and same and difference of hierarchy of objects,discrimination and fear of other, more people are being diagnosed as Neurodiverse although fewer women with ASD

该提议正在从1990年的BA陶瓷中遵循，在1990年，我调查了饮食失调和身体形象：题为“体重图像”的论文以及我对与自我，身体，环境关系的关系的研究：标题“人类的人性正在崩溃和丧失自我：尤其是创造性过程，尤其是克莱（Clay），尤其是在重新启动和重新培养自我的自我，其他人，其他人，其他？这是从我自己的生活经验中诞生的，并且在专业学院的艺术和陶瓷系中工作了20多年，专门针对年轻人的需求复杂，对现象学兴趣。 这项研究旨在填补有关女性艺术实践和神经多样性的领域空白。在我的研究中，我会利用自己的生活经验，并通过粘土媒介与神经散发的女性艺术家（亲自或变焦）进行案例研究，以探索他们与自己的身体和机构的联系并与自己的身体和机构的关系，以确定与粘土的触觉创造过程是否可以减轻这种不安并发展更具体现的经验。最终，我会根据这项研究的结果来开发一系列艺术品，希望回答为什么神经伴侣女性属于诊断的范围？是什么导致他们体验到扭曲的自我/身体意识，饮食混乱和ho积？作为上下文审查的一部分，我将调查相关的博物馆收藏和档案，包括惠康收藏，以确定过去艺术家是否已经记录了这些问题。我相信，早期的上旧石器时代的比喻人物是由俯视自己的身体自我实现和探索自我和他人思想的妇女创造的。作为世界妇女在世界大英博物馆妇女博客中所描述的经验的实施例，https://blog.britishmuseum.org/women-of-the-world/经常，女性艺术家的作品与不安的作品有关，在这种情况下，该尸体被用作描述性，这在现代艺术家Lousie Lousie Bourgeois的工作中可以看出，这是对她的工艺的描述。 K.（2015）她通过家庭材料以有形形式重新创造自己的自我。如今，许多女性艺术家在内，包括莎拉·卢卡斯（Sarah Lucas），珍妮·萨维尔（Jenny Saville）和丽贝卡·沃伦（Rebecca Warren）和玻璃艺术家艾玛·沃芬登（Emma Woffenden）创作了模棱两可的象征性工作，其中超级专注于身体部位而不是批发来强调感觉。 “现代主义时期甚至更远的时期，内在和脆弱的身体现在是有效的经验以及正式美学询问的媒介的强大意义”（O'Reilly，2009; 8]该身体是具有代理和生活经验的对象表达的，并且是一种生活的经验。作为“假肢”。与事物的速度或缓慢相关（2012年），这可能是ho积和饮食失调的一种解释。她描述了对个人呼唤的事物，物体或食物的代理。 “她理解ho积者独特地能够听取“事物的呼唤”，从而侵蚀了自己之间的界限，并挑战了主体和对象之间根深蒂固的二元性。” Falkoff（2021）在双重文化中，我们和它们以及对象的等级，歧视和恐惧的层次结构，越来越多的人被诊断为神经多样性，尽管较少的ASD女性