Author: Kemske, Bonnie

Source: The Senses and Society, Volume 4, Number 3, November 2009 , pp. 323-344(22)

Publisher: Berg Publishers

Abstract:

Sculptural ceramic objects created by and for the body were made within the context of art-based research, in which theoretical explorations and studio practice were integrally interwoven. Studio explorations developed from theoretical knowledge gained from human physiology, and from the development of an understanding of the “lived experience” as expressed by Maurice Merleau-Ponty, through the experiences of the artist in making, and comments from visitors at exhibitions. The artworks challenge the visual hegemony of the art gallery by more fully engaging the body's sense of touch through the embrace. The sculptures, which were made by “casting hugs,” instinctively invite interaction, with soft curves that echo the human body, textures to visually entice individuals to touch, and a pleasurable weight that slows down responses. In public exhibition the artworks are enthusiastically embraced and held, broadening and articulating a tactile aesthetic for sculpture, and shifting focus from the sculptural objects themselves to one's physical and emotional experience of those objects.

Keywords: TOUCH; TACTILE ART; EMBRACE; TACTILE AESTHETIC

Document Type: Research article

DOI: http://dx.doi.org/10.2752/174589209X12464528171932

Publication date: 2009-11-01

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