This part of the archive is (mostly) sculpture but includes curation, and installation.
Labels can be useful devices but there are always things that don’t fit.
Re-negotiations of the abject: installation-performance
From Mother-Works writing, by Delpha Hudson, 2017
‘I had begun working with Kristeva’s idea of the abject. Not just simply using repulsive cast off substances but developing a creative conflation of ideas about the maternal (from Mary Kelly’s writing) and the pre-Symbolic as liminal – neither inside or outside matter. Linking the abject to decay I made sculptures from any materials I could get my hands on (metal, clay, paper, cloth, stones, leaves), and began material processes that would make them rot, rust or partially burn. I also experimented with simultaneously preserving and destroying objects by adding salt or latex.
The objects I saved were children’s clothing in Loss.
For Something Special/Something Inbetween/ I began to conflate abject with in-between, ambiguous states. This personal-imaginary use of materials connected with the body in flux between preservation and destruction provided metaphors not only for absence and disappearance (the absence of a female Subject and the void of motherhood), but metaphors for the maternal body existing fluidly between multiple subjectivities, and existing in liminal spaces of natality between life and death.
What I called abject processes were presented as installations and often combined with performance and video. Performance and video strategies introduced time-based strategies involved in decay, disappearance and personal experience through memory and forgetting. Materials and objects that had metaphorical resonances with caring and mothering carry with them symbolic dualities of presence and absence and can simultaneously propose multiple spaces between both.’
Mother Works writing 2017
In the studio – relationships between object-based practice and performance practice
I have discovered a small sanctuary in having a studio and applying conceptual performance and feminist theory to working processes and the manipulation of objects and materials. My studio practice is about thinking through things. Studio practice can be a ‘physical manipulation of the world’ as ‘an assertion of being’ (Pollock, G., 2017, p.106). There are multiple ways to explore performance, female subjectivity and selfhood through our relationships with objects and visual forms. Materials are chosen for their symbolic resonance. Painting with household bitumen paint is a conceptual act and a performance process. Juxtaposing found objects, ceramic sculpture, paint, text and writing practices em-body lived experience. Embodiment can be an engagement with the world, a process mediated by continual interaction with other humans and with things (Judy Watson in Betterton, R., 2003, p. 67).
Embodiment, and corporeal interplay move beyond binaries to situated and dialogic knowledge, creating relationships and connections between things, people and ideas. Begriefen is a term used to describe touching and handling objects and material to make sense. I use and manipulate objects to embody ideas, and to symbolise and create connections between things.
Have a look at the Objets-Textes project
Or view curatorial projects & sculpture