It is the aim of this practice-led PhD to explore the processes that attend to the production of a linocut relief print through a framework whose key concepts are liminality and embodiment. In this pursuit the thesis investigates the subjects of skin and surface as well as cuts and cutting through themes and issues of touch and time that include connection and continuity, 'direct' creative touch, artist-tool/technology relations, memory, repetition and rhythmicity, transmissions of time, translation, tracking, chronology and equivalence. These subjects and themes' liminal qualities and characteristics are mirrored by a methodology devised and employed throughout the research. This methodology employs the interpenetrative, interconnected, reflexive and autoethnographic methods of a durational, physically challenging repeat printmaking project, longhand letter writing, and the multiple-register writing of this thesis. It does so in a purposely oblique and 'wayfaring' (Tim Ingold, 2011) approach. Binaries and boundaries are thus explored without risking their further enforcement, allowing diverse aspects and subjects to flow into and between one another with the freedom to contrast, contradict, and manifest inconsistently whilst ultimately moving towards a more comprehensive understanding of the thesis' subjects. This liminal methodology contributes a set of research tools and framework propositions to the existing field of research in and of creative practice, including printmaking, and its embodiment.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:764098 |
| Date | January 2018 |
| Creators | Barnard, Tess Elizabeth |
| Contributors | Brennan, Gordon ; Pelzer, Ruth ; Fusco, Maria |
| Publisher | University of Edinburgh |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://hdl.handle.net/1842/33312 |
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