Connectivity; the translations of knowledge through craft making: exegesis in support of practice-based dissertation, Bachelor of Art & Design Honours (Visual Arts), Auckland University of Technology, 2017 / Sosefina Andy ; supervisors: Monique Redmond, Ingrid Boberg.
This practice explores connectivity as a conceptual framework and an approach to making artworks. It discusses by a sculptural and installation based practice, my interests in ways that connections are formed between the body and the mind as an extended understanding of my senses experience with tac...
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| Format: | Ethesis |
| Language: | English |
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| Online Access: | Click here to access this resource online |
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| 100 | 1 | |a Andy, Sosefina, |e author. | |
| 245 | 1 | 0 | |a Connectivity; the translations of knowledge through craft making: |b exegesis in support of practice-based dissertation, Bachelor of Art & Design Honours (Visual Arts), Auckland University of Technology, 2017 / |c Sosefina Andy ; supervisors: Monique Redmond, Ingrid Boberg. |
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| 502 | |a Exegesis |b BA&D (Hons) |c Auckland University of Technology |d 2017. | ||
| 504 | |a Includes bibliographical references. | ||
| 516 | |a Text (PDF file (60 pages, 6.316 Mb)) | ||
| 520 | 3 | |a This practice explores connectivity as a conceptual framework and an approach to making artworks. It discusses by a sculptural and installation based practice, my interests in ways that connections are formed between the body and the mind as an extended understanding of my senses experience with tactile materials. The installation works I produce aims to instigate a connection with an audience as they are urged to activate a personal reading of the work by means of perception and physical interaction. My practice employs crafting methods such as crocheting, knitting and sewing, as ways to communicate cultural knowledge that are introduced by collective making, and conversations with family members like my Grandma Giga, my parents and my auntie Peka. The utilisation of a craft, specifically crocheting, also concurrently operates the drawing of a diagram. This tactic derives from an interest in documenting intuition as presented in the process of a craft. For instance, crocheting a line of wool or yarn corresponds to the literal drawing of a line on paper. Therefore, when the crochet changes direction, so does the line of the diagram. My tendency to operate with crafting methods, not only triggers an interest in the social aspect it posits, but also because of the new possibilities it presents in terms of creating a sculptural form or installation work based imaginations as well as the constant recollection of the spaces in Grandma Giga's Samoan house. | |
| 650 | 0 | |a Textile fabrics in art. |9 372366 | |
| 650 | 0 | |a Crocheting. |9 316360 | |
| 650 | 0 | |a Installations (Art) |9 319397 | |
| 650 | 0 | |a Sculpture, New Zealand |y 21st century |9 774089 | |
| 700 | 1 | |a Redmond, Monique, |e degree supervisor. | |
| 700 | 1 | |a Boberg, Ingrid, |e degree supervisor. | |
| 710 | 2 | |a Auckland University of Technology. |b School of Art and Design. | |
| 710 | 2 | |a Auckland University of Technology, |e degree granting institution. |9 331914 | |
| 856 | 4 | 0 | |u http://hdl.handle.net/10292/11052 |z Click here to access this resource online |
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