After showing Sebastian what I had worked on for the past week, we discussed how the material aspect of my work could be developed to introduce meaning to each material.
Sebastian suggested that I look into Joseph Beuys story of his Stuka plane crashing in the Crimea in 1944, surviving and being found by a group of nomadic Tartars who wrapped him in fat and felt to keep him warm. The story defined the source of his artistic materials and became an integral and enduring part of Beuys’s legend.
We also discussed the traditional hierarchy of materials which Gormley discussed in the Materiality reader and I tried to decipher whether the higher the material is on the hierarchy is because of the materials value, qualities or longevity.
After this discussion, I decided that the logical conclusion/next step for my investigation is to continue working on the two parallel strands of spatial thresholds and material meanings whilst developing further explorations into traces of use such as making and recording the use of a clay prayer mat, a plaster mezuzah and wax elements.
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