whole_HoareJo-AnnePatricia1999.pdf (5.29 MB)
Reconsidering the gender and scopic limits of traditional art forms : reclaiming the space of a woman's identity
thesisposted on 2023-05-26, 16:56 authored by Hoare, JAP
The content and form of contemporary concepts of identity in Australia originate in Australia's colonial history in which European structure of thinking and imaging were imposed on the colony. These structures were masculine and scopic in form and hence inhibited identities and practices, which did not conform to these structures. The project primarily interrogates and deconstructs the masculine and scopic structures, which give legitimacy to both colonial practice and to painting and photographic media as the dominant visual representation of this practice. It is the theme of this project that the deconstruction is primarily a matter of considering issues of spatiality associated with scopic regimes. My intent has been to imagine and make a new type of space, which does not centre the subject in dominant masculine and scopic terms. The development of such a new type of space aims to create a new stage on which other roles of identity can be imagined. More importantly it provides the artists with the opportunity to re-address the scopic as the dominant vehicle of meaning, and hence liberate the body as a more holistic and multiple sphere of identity (rather that one limited by the one sense of visualisation). A key tactic has been to incorporate media that are extra visual, in particular the use of textiles within an installation format The textile component of this project explores notions of traditional textile art practice. The organic nature and lucidity of the cloth provided a surface on which the stitch acts as a form of mark making, etching the surface of the fabric with a deconstucted symbol of identity. Through lighting an appeal to the other senses and experiences such as touch and movement is made. The originality of this installation is to make an artwork, which is grounded, on a new relationship between the viewer's body and with this relationship stage new approaches to identity.
Rights statementCopyright 1999 the Author - The University is continuing to endeavour to trace the copyright owner(s) and in the meantime this item has been reproduced here in good faith. We would be pleased to hear from the copyright owner(s). Thesis (MA)--University of Tasmania, 1999. Includes bibliographical references