Liminality Instruments-Ality
Hunt, Amanda (2024-04-10)
Taideyliopiston Kuvataideakatemia
10.04.2024
Maisterin opinnäytetyö
kuvanveisto
Julkaisun pysyvä osoite on
https://urn.fi/URN:NBN:fi-fe2024062558008
https://urn.fi/URN:NBN:fi-fe2024062558008
Tiivistelmä
This text, titled ‘Liminality Instruments-ality', is the written thesis of Amanda Hunt’s Master’s work. It serves as an accompaniment text to the artistic component, ‘Liminal Instruments III’, exhibited in the Kuvan Kevat exhibition, May – June 2024. Supporting the artistic element of the work, the artist expounds upon the research and concepts used leading up to the production of the final work.
In this text, the artist dives into topics of relationality frameworks, support systems, and ways of Queering hegemonic relationship structures. Hunt begins each chapter title with the phrase “The ‘What’ in ‘How’ and the ‘How’ in ‘What’”, which serves as a meta-framing, reminding the reader that ‘form’ and ‘content’ intermingle both conceptually and practically in this work.
Hunt opens the text by outlining their socio-cultural-economic background, along with their Queer identity. This acts as ground work to orient the reader about the place from which they speak, and the importance these systems bear on their relationships. Hunt then includes an interview held with two dear individuals, their answers being transposed by rote from emails and voicenotes. This section serves as a tonal shift and posits that conversations held between friends and lovers within the artist’s Queer and Feminist circles are already doing the work from outside academia, freely in their personal lives on a daily basis.
Referencing two artists that have acted as influential support, Hunt compares John Court and Cassils’ visual live art works to theirs, drawing parallels between all three practices.
Using the institutionalized relationship model of Marriage, Hunt considers the underpinnings and implications of this structure, with its roots in Colonialism, Capitalism, and Heteronormative Patriarchal histories. They consider how we might expand our relational palette to move beyond these limited systems. A chapter honouring all the ways people who are called ‘friends’ have shown infinite types of support and love poetically outlines the limited role friendship unjustly plays in a Western, Heteronormative lens.
Hunt then delves into the artistic practice of making the metal aluminium sculptures that are performed with. Artist and activist Cassie Thornton’s ‘The Hologram’ is used as research for Hunt’s performance score. Hunt outlines the technical and material process of Ceramic Shell Casting, including documentation of this process. Hunt goes into thematic detail about the body castings used for the sculptures, and ties in an earlier investigation of alternate structural relational models with the formal and conceptual outcome of their material work.
A poetic conclusion makes analogous connection between the collaborative act of metal casting with that of the collective performance work. Site, material, and bodies are considered in both poetic takes. Hunt finally concludes the work with process drawings featuring early textual thinking about the artistic process.
In this text, the artist dives into topics of relationality frameworks, support systems, and ways of Queering hegemonic relationship structures. Hunt begins each chapter title with the phrase “The ‘What’ in ‘How’ and the ‘How’ in ‘What’”, which serves as a meta-framing, reminding the reader that ‘form’ and ‘content’ intermingle both conceptually and practically in this work.
Hunt opens the text by outlining their socio-cultural-economic background, along with their Queer identity. This acts as ground work to orient the reader about the place from which they speak, and the importance these systems bear on their relationships. Hunt then includes an interview held with two dear individuals, their answers being transposed by rote from emails and voicenotes. This section serves as a tonal shift and posits that conversations held between friends and lovers within the artist’s Queer and Feminist circles are already doing the work from outside academia, freely in their personal lives on a daily basis.
Referencing two artists that have acted as influential support, Hunt compares John Court and Cassils’ visual live art works to theirs, drawing parallels between all three practices.
Using the institutionalized relationship model of Marriage, Hunt considers the underpinnings and implications of this structure, with its roots in Colonialism, Capitalism, and Heteronormative Patriarchal histories. They consider how we might expand our relational palette to move beyond these limited systems. A chapter honouring all the ways people who are called ‘friends’ have shown infinite types of support and love poetically outlines the limited role friendship unjustly plays in a Western, Heteronormative lens.
Hunt then delves into the artistic practice of making the metal aluminium sculptures that are performed with. Artist and activist Cassie Thornton’s ‘The Hologram’ is used as research for Hunt’s performance score. Hunt outlines the technical and material process of Ceramic Shell Casting, including documentation of this process. Hunt goes into thematic detail about the body castings used for the sculptures, and ties in an earlier investigation of alternate structural relational models with the formal and conceptual outcome of their material work.
A poetic conclusion makes analogous connection between the collaborative act of metal casting with that of the collective performance work. Site, material, and bodies are considered in both poetic takes. Hunt finally concludes the work with process drawings featuring early textual thinking about the artistic process.