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

该提案是继我的BA陶瓷在1990年，我调查了饮食失调和身体形象：论文题为“图像的重量”和我的MA研究到自我的关系，身体，环境：标题“人类正在经历一个崩溃和自我的损失：创造性的过程，特别是粘土，发挥自我，其他，世界的重新整合和修复不可或缺的一部分？这是从我自己的生活经验和超过20年的专业学院的艺术和陶瓷部门为年轻人与复杂的需求和现象学的兴趣诞生。 这项研究旨在填补该领域在女性艺术实践和神经多样性方面的空白。在我的研究中，我将使用我自己的生活经验，并通过粘土媒介与神经分歧的女性艺术家（亲自或放大）进行案例研究，以探索他们与自己的身体和代理的关联和关系，以确定粘土的触觉创作过程是否可以减轻这种不安并发展出更具体现性的体验。最终，我会根据这项研究的结果开发一套艺术作品，希望能回答为什么神经分歧的女性会被诊断出来？是什么导致他们经历扭曲的自我/身体意识，饮食失调和囤积？作为背景审查的一部分，我将调查相关的博物馆收藏和档案，包括威康收藏，以确定这些问题是否已被艺术家在过去记录。我相信旧石器时代晚期早期的具象艺术品是由女性在自我实现中俯视自己的身体并探索自我和他人的想法而创作的;正如大英博物馆世界女性博客www.example.com上的世界女性所描述https://blog.britishmuseum.org/women-of-the-world/，女性艺术家的作品通常与不安有关，身体被用作隐喻，这可以在现代艺术家Lousie Bourgeois的作品中看到，她将自己的艺术过程描述为“自我技术”Micheson。K.（2015）在那里，她正在通过国内材料以有形的形式重新创造自己。今天，许多女性艺术家，包括莎拉·卢卡斯（Sarah Lucas）、珍妮·萨维尔（Jenny Saville）和丽贝卡·沃伦（Rebecca Warren），以及玻璃艺术家艾玛·沃芬登（Emma Woffenden），都在创作模棱两可的具象作品，其中对身体部位的过度关注而不是整体，被用来强调感觉。“现代主义时期，甚至超越，内脏和脆弱的身体现在是生活经验的一个强有力的能指，也是形式美学探究的媒介”（O 'Reilly，2009; 8）身体被表达为一个具有能动性的物体和一个生活经验。哪里有分裂，哪里有西方笛卡尔思想中的身心分裂，哪里就有对物体或食物的强迫性需求，以定义自我。弗洛伊德（1930）将其描述为“假肢神”。最近的一项关于饮食失调的研究。斯普林格（2017）当代心理学报告说，“人们对神经性厌食症和自闭症谱系障碍之间的关系越来越感兴趣”，政治理论家简班尼特在《充满活力的物质》（2010）中描述了事物，事物或非人类身体的代理以及ADHD患者与物体的特殊关系，他们可能对物体的拉力有更深的感官意识，与事物的速度或缓慢的亲和力（2012），这可能是囤积和饮食失调的一种解释。她描述了事物、物体或食物对个体的召唤。她理解囤积者是唯一能够听从“事物的召唤”的人，因此侵蚀了他/她之间的界限，挑战了主体和客体之间根深蒂固的二元性。“Falkoff（2021）在二元性的文化中，我们和他们以及物体等级的相同和不同，歧视和对他人的恐惧，更多的人被诊断为神经多样性，尽管患有ASD的女性较少

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