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Reflective embodiment of the four elements of nature as a metaphor for personal expression
Author(s)
Van Zyl, Kirsti
Date Issued
2010
Type
Thesis
Publisher
Cape Peninsula University of Technology
Abstract
A personal. phenomenological expression and discovery has been conducted. through being
immersed in the four elements of nature. namely water, air, earth and fire. Each series
represents one of the four elements. The established, Westem interpretations of the four
elements have been contrasted with my personal embodied interpretation. The result of this was
a concept based on the discovery of my context within the environment, manifested into an
artistic reflection of my appreciation of creation. Embodiment. therefore. provides the theoretical
framework as it is the merging of the body and mind in our interactions with the outer world, as a
way of gaining knowledge and experience (Hocking. Haskell & Unds (eds.). 2001: xviii).
Phenomenology of perception, according to Langer (1989: 158). is the study of structures of
perception. and as a supporting theory, it ties in with embodiment and how our thoughts and
feelings are a result of our physical body's conversation and interaction with the outer world.
Embodiment is a tool used to rediscover that dialogue. and is one I have applied in order to
design and create subjective and conceptual fabric sculptures. I have embodied my sculptures.
shaping and installing a meaning, dictated by my experiential body perception. These two
theories were important for my research in order to engage with and interpret my body's
experiences within the elements of nature
Inspiration for my product was derived from Deepa Panchamia. for her structured yet organic.
pleated structures and Annalisa Vobis for her use of organic inspiration and the resulting
conceptual interpretations. Andy Goldsworthy was also inspiration to me for the emphasis he
puts on the raw and natural aspects of experience and process. This is evident in the nonpermanent
characteristic of his land art. An important factor of this range is the display and
exhibition of the Sculptures. by recording each series within the context of each element it
represents, it grounds and highlights the strong inspiration of nature and process. evident within
each sculpture. The entire range is created from polyester organza that has been permanently
pleated and then hand manipulated to create 3-Dimensional. abstract sculptures. The use of this
fabric creates a transparent, ethereal atmosphere. where the inner and outer layers of the
sculptures seem to merge and interact. reflecting and indicating a fleeting moment of ghostlike
embodied expression. Apart from the sculptures being the result of a self-expressive.
introspective process, they are also aesthetically based conceptual art pieces with great
potential to being translated into a variety of applications.
immersed in the four elements of nature. namely water, air, earth and fire. Each series
represents one of the four elements. The established, Westem interpretations of the four
elements have been contrasted with my personal embodied interpretation. The result of this was
a concept based on the discovery of my context within the environment, manifested into an
artistic reflection of my appreciation of creation. Embodiment. therefore. provides the theoretical
framework as it is the merging of the body and mind in our interactions with the outer world, as a
way of gaining knowledge and experience (Hocking. Haskell & Unds (eds.). 2001: xviii).
Phenomenology of perception, according to Langer (1989: 158). is the study of structures of
perception. and as a supporting theory, it ties in with embodiment and how our thoughts and
feelings are a result of our physical body's conversation and interaction with the outer world.
Embodiment is a tool used to rediscover that dialogue. and is one I have applied in order to
design and create subjective and conceptual fabric sculptures. I have embodied my sculptures.
shaping and installing a meaning, dictated by my experiential body perception. These two
theories were important for my research in order to engage with and interpret my body's
experiences within the elements of nature
Inspiration for my product was derived from Deepa Panchamia. for her structured yet organic.
pleated structures and Annalisa Vobis for her use of organic inspiration and the resulting
conceptual interpretations. Andy Goldsworthy was also inspiration to me for the emphasis he
puts on the raw and natural aspects of experience and process. This is evident in the nonpermanent
characteristic of his land art. An important factor of this range is the display and
exhibition of the Sculptures. by recording each series within the context of each element it
represents, it grounds and highlights the strong inspiration of nature and process. evident within
each sculpture. The entire range is created from polyester organza that has been permanently
pleated and then hand manipulated to create 3-Dimensional. abstract sculptures. The use of this
fabric creates a transparent, ethereal atmosphere. where the inner and outer layers of the
sculptures seem to merge and interact. reflecting and indicating a fleeting moment of ghostlike
embodied expression. Apart from the sculptures being the result of a self-expressive.
introspective process, they are also aesthetically based conceptual art pieces with great
potential to being translated into a variety of applications.
Additional information
Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010
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