Does climate change art have the power to touch, disturb, move, persuade or inspire change? This article from the Economist surveys some examples of climate change art to consider some of these questions. http://www.economist.com/news/books-and-arts/21581970-future-uncertain-it-also-inspiring-chilling
This Friday, I will be contributing to a symposium on ‘Touch’ in Art process as part of the Didsbury Arts Festival. I will be talking about my installation The Gesture of Thinking, and about the role of ‘touch’ in interpreting painting.
In the tactile engagement with materials in my studio, I make sense out of physical ‘sense’. But if the ‘thinking’ is in the making, how can I share this ‘felt’ knowledge with an audience?
I was delighted to be asked to contribute a piece of artwork for Mytholmroyd Station Partnership. (Click on the images to enlarge)
‘Soundings’ is a retrospective of mixed media works created over a decade by Rosemary Holcroft, painter and Royal College of Art graduate. The paintings trace an ongoing and determined philosophical investigation, embodying polarities of thinking and feeling, chaos and order, truth and mystery. Continue reading
I completed the installation for my PhD transfer process on Thursday, and have documented it here. It was an eye-opener to see the work involved by the stage@leeds technicians in setting up the projection and lighting, and they deserve the credit for the quality of the theatrical presentation in the space.
Who makes art about climate change?
“It is not pictures as objects of perception, that can teach us about perceiving; rather, it is making pictures – that is, the skilful construction of pictures – that can illuminate experience, or rather the making or enacting of experience.” Alva Noë
This installation explores processes of embodied cognition through painting. It aims to understand creative practice as an agential, corporeal activity performed by a body moving through its environment. Through gesture, materiality and the use of tools, visual knowledge emerges in a process of artistic labour. Painting, in this laborious process, is thinking – “in that instant when his vision becomes gesture, when, in Cézanne’s words, he ‘thinks in painting’”. Merleau-Ponty
Details: Alec Clegg studio, stage@leeds, School of Performance and Cultural Industries. Thursday 9th May, 11-3. Drop in, no need to book. Free Entry.
‘Physically engaging with the paint allows you to tap into different parts of yourself’ says Lisa Milroy
I’m interested to know what my paintings are telling you. When you look at the painting below, what do you notice? What do you feel? What do you think?