Transcending the Surface
| dc.contributor.advisor | moore, jake | |
| dc.contributor.committeeMember | Glenn, Allyson | |
| dc.contributor.committeeMember | Birke, Lisa | |
| dc.contributor.committeeMember | Loewen Walker, Rachel | |
| dc.creator | Lund, Shelby N | |
| dc.creator.orcid | 0009-0006-4778-6014 | |
| dc.date.accessioned | 2023-10-04T16:33:00Z | |
| dc.date.available | 2023-10-04T16:33:00Z | |
| dc.date.copyright | 2023 | |
| dc.date.created | 2023-09 | |
| dc.date.issued | 2023-09-27 | |
| dc.date.submitted | September 2023 | |
| dc.date.updated | 2023-10-04T16:33:00Z | |
| dc.description.abstract | Through a collaborative process with the natural world, and by demonstrating how bodily knowledge and intuition can be used as praxis, the research presented in Transcending the Surface offers alternative and unconventional ways to participate in painting, pushing the boundaries of the medium from a Western modernist historical perspective. The imbalance of gender representation in museums and collections perceived to be historical is active and ongoing. Through my physical engagement with the world, I have come to understand myself as a being of nature, one who is not separate from the universe, but who is fully implicated within it. Not only does this embodied understanding of materiality make up the conceptual subject matter of my artwork, but it is also what motivates me to pursue artistic practice. This acknowledgment of our universal entanglement challenges the separation of the mind from the body, the dichotomies of logic and emotion, and of rationality and intuition. In my artistic research, I reclaim and re-present the characterization that has historically been used to delegitimize women’s artwork, that is women’s bodily nature. Through my personal practices of coming to know the physical world through my body and senses, I express through my artwork a form a knowledge that both works in tandem with historical painting processes and refuses the separation of the mind from the body in a way of demonstrating their reliance on one another. | |
| dc.format.mimetype | application/pdf | |
| dc.identifier.uri | https://hdl.handle.net/10388/15108 | |
| dc.language.iso | en | |
| dc.subject | painting | |
| dc.subject | sculptural experiments | |
| dc.subject | photography | |
| dc.subject | abstraction | |
| dc.subject | representation | |
| dc.subject | nature | |
| dc.subject | trees | |
| dc.subject | water | |
| dc.subject | four elements | |
| dc.subject | materiality | |
| dc.subject | intuition | |
| dc.subject | bodily knowledge | |
| dc.subject | feminist art theory | |
| dc.title | Transcending the Surface | |
| dc.type | Thesis | |
| dc.type.material | text | |
| thesis.degree.department | Art and Art History | |
| thesis.degree.discipline | Studio Art | |
| thesis.degree.grantor | University of Saskatchewan | |
| thesis.degree.level | Masters | |
| thesis.degree.name | Master of Fine Arts (M.F.A.) |