Lise Seier Petersen: Smeltelerstykker/ Melting Clay Piece


Indhold
En praksisbaseret og forskningsinspireret undersøgelse og analyse af præmisserne for differentieringen mellem anvendt kunst og fri kunst, der indrager kunstteori og kunstnerisk praksis som metodisk greb.

Teoretisk afsæt:
I Danmark skelnes der fortsat mellem anvendt kunst og fri kunst. F.eks. opdeler Akademirådet sine medlemmer i:
– Arkitektsektionen, der omfatter: ”Arkitekter, der arbejder inden for den bundne/ funktionsbestemte kunst, og som praktiserer enhver form for kunstnerisk motiveret arkitektur eller design inden for fx bygningsarkitektur, planlægning, landskab, møbler, industriel og grafisk design.”
– Billedkunstsektionen, der omfatter: ”Billedkunstnere, der arbejder med den ubundne/ fri kunst og som praktiserer enhver form for skabende kunst som maleri, skulptur, rum, objekter, installation, foto, video, performance, tekstil, digital eller anden ny medie.”
(https://www.akademiraadet.dk/index.php?id=94)

Personligt afsæt og hypotese
Jeg er optaget i Kunstnersamfundets arkitektursektion; men jeg arbejder ikke inden for nogen af de genrer, der nævnes i sektionen. Derimod arbejder jeg med skulpturelle objekter, rum, installation, foto, etc. og min tilgang er oftest konceptuel. Jeg ønsker at undersøge og analysere dette paradokset ud fra en hypotese om, at et mere differentieret- og mindre fordomsfyldt syn på kunstområdets genre-inddelinger kan medvirke til nye tilgange og indsigter, som kan gavne det samlede felt.

Udformning
For at forstå differentieringen undersøger og analyserer jeg den som følger:

Praksisdel
Formelt tager jeg afsæt i keramiske arketyper – eksempelvis cylinderen. Ved hjælp af traditionel håndværksbaseret drejeteknik fremstiller jeg genstande i rød- og blåler, som jeg overbrænder, så leret begynder at smelte og deformeres. Ofte dækkes de helt eller delvist med hvidt pibeler, der har et højere smeltepunkt.
Jeg fremstiller altså objekter, der formelt tolkes som funktionsbestemt; men i brændingen, hvor det porøse ler bliver uopløseligt, sker en transformation. Her trækkes funktionen ud via ovnens varme og objekterne transformeres, så de nu refererer til skulpturbegrebet.
For at understrege projektets indhold og fokus, laves der også silikoneafstøbninger af de brændte objekter, som efterfølgende støbes i henholdsvis gips og bronze.

Teoretisk del
– Den teoretiske del omhandler de problematikker og præmisser, der ligger til grund for projektet samt dets konklusioner og perspektiveringer.
– Metodisk tages afsæt i en grafisk skitse fra Niels Guttormsen og Jens Bertelsens bog ”Kunst som Model”.
– Analytisk anvendes formel analyse, fænomenologi og nyere faglitteratur om emnet indgår i analysen.

 
Content
A practice-based, research-inspired study and analysis of the premises for the differentiation between applied and free art, which incorporates art theory and artistic practice as methodological approaches.

Theoretical basis
In Denmark, distinction is still made between applied art and free art. For example, the Academy Council divides its members into:
– The Architect section, which includes: “Architects who work within the field of bound/functionally-determined art, and who practise any kind of artistically-motivated architecture or design: for example, within building architecture, planning, landscape, furniture, industrial and graphic design.”
– The Fine Art section, which includes: “Fine artists who work within the field of unbound/free art, and who practise any kind of creative art such as painting, sculpture, space, objects, installation, photography, video, performance, textile, digital or other new media.”
(https://www.akademiraadet.dk/index.php?id=94)

Personal basis and hypothesis
I belong to the Architecture section, but I do not work within any of the genres it describes. Instead, I work with sculptural objects, spaces, installations, photography etc. and my approach is usually conceptual.
My aim is to investigate and analyse the paradox between my personal categorisation in the Society of Artists and my actual practice, based on a hypothesis that a more differentiated view of art’s genre divisions might lead to new approaches and insights that could benefit the overall field.

Design
To understand the differentiation, I examine and analyse it as follows:

The practice element
Formally, I start with ceramic archetypes – for example, the cylinder. Using traditional craft-based turning technique, I make objects in red and blue clay. They are over-fired, so the clay begins to melt and deform. They are often completely or partially covered with white pipe clay, which has a higher melting point.
I thus produce objects that are formally interpreted as functional. However, in the firing process, when the porous clay becomes insoluble, a transformation takes place. Here the function is extracted by the heat of the oven, and the objects now refer to the concept of sculpture.
To express the content and focus of the project, I also make casts of selected fired objects in plaster and bronze, respectively.

The theoretical element
– The theoretical element is about the issues and premises that underlie the project and its conclusions and perspectives.
– Methodologically, the basis is a graphic sketch from Niels Guttormsen and Jens Bertelsen’s book Kunst som Model (Art as Model).
– In terms of analysis, I apply formal analysis and phenomenology, and include recent academic literature.

Guttormsen og Bertelsens model og min variant/ Guttormsen and Bertelsen's model and my variant:

A. Skabende kunstnere
B. Udøvende og reproducerende kunstnere
C. Håndværkere
D. Formidlere (herunder teoretikere)
E. Krydsfelt

A. Visuel artists
B. Performing and reproducing artists

C. Craftsmen

D. Mediators (including theorists)
E. Crossfield


arkiv/ archives