Julia Woodmore - Portfolio > Thesis > Conclusion Home | Contents| PDF Version

Thinking Outside of the Box

Conclusion

When I started this project I had many unanswered questions about how materials and their former applications might dictate use in art today. Through a continuous approach of questioning, many themes that I had not initially envisaged arose.

At the fore-front of my findings was a continual link to the varying associative responses. Whilst my question did not become invalid the focus shifted to exploring the associations of the applications.

Through my personal study these issues became of greater importance, expanding from a few questions and feelings to four major platforms of thought. In the word association this grew further. Another three key associations emerged. These were unexpected findings which show, like the 'observer' how some ideas are accounted for whilst others are not.

'Nor could the observer of art be delimited only in Phenomenological terms;he or she was also a social subject defined in language and marked by difference (economic, ethnic, sexual, and so on).' [27]

I was finally led to James Carl whose casy study allowed for an evaluation of these ideas.

Through my work with this study I have discovered that material associations play a key role in the production of art. This can act as a creative force but it can also become a factor causing limitations.

These associations vary greatly not only at a personal level but also in terms of audience ? the public level and how controversary can arise as highlighted in Centenary Square, Birmingham.

Peoples practise of association forms an incredibly personal relationship. We pay greater heed to some associations than others. In James Carl's work media association with material was far greater than others.

Overall, I have been led to believe that association is a skill to some extent, whilst in the immediate we can recognise certain aspects the portent and notice we give to them is honed (to a degree) through our own desire to realise these unbidden connctions. In this way material associations of course influence the final form of our artwork but the extent to which we allow these associations to control it is our own.

James Carl <   Conclusion   > Bibliography Home | Contents| PDF Version