Touching impermanence describes the experiential moment in an art encounter when one senses the ... more Touching impermanence describes the experiential moment in an art encounter when one senses the enchanted reality of one's interconnections wit the sentient matterflow of existence. All matter in existence is constantly vibrating, changing, assembling and evolving into forms and organisms, cycli through decay and disintegration, then reforming again with diversity and difference; this is the impermanence of sentient matter-flow. Humans are j one form of these reciprocal assemblages; we are within and part of sentient matter-flow. We also co-create with sentient matter-flow, changing the cycles on micro and macro levels, just as they change us. On a macro level human actions have impacted and changed the Earth's biosphere, altering polluting sentient matter-flows to the extent that our present time period is becoming known as the Anthropocene, the human age of destruction an disconnection. There are many efforts to readdress our anthropocentric feelings of apathetic disconnection from the Earth; one is found in the arts correlates with my practice-led research. This doctoral study of sensate experiences of materiality and haptic thinking, which provide both maker an audience with direct palpable experience of time, forms a specific understanding of touching impermanence. My art processes involve working with ta materials such as beeswax; tree branches, stumps and bark; paper; ash; rocks; ice; snow; charcoal; light and fungi. Engaging with these materials cocreatively involves a methodology of touch, multisensorily following materialities' sentient matter-flow. Acting with the material, I am present to th material's own sense of time, interactions, agency, histories, layers of interbeing and interconnections with surrounding matter. This requires being op to the mysteriousness of materials, inviting moments of enchantment within art encounters and the realisation of touching impermanence. This thesis investigates my studio practice and works produced, alongside related practices of Australian and international artists, by drawing on the intersection between New Materialism discourses and Buddhist philosophy to address aspects of phenomenology and eco-philosophy in the complexities of these practices and artwork encounters. URI:
Touching impermanence describes the experiential moment in an art encounter when one senses the ... more Touching impermanence describes the experiential moment in an art encounter when one senses the enchanted reality of one's interconnections wit the sentient matterflow of existence. All matter in existence is constantly vibrating, changing, assembling and evolving into forms and organisms, cycli through decay and disintegration, then reforming again with diversity and difference; this is the impermanence of sentient matter-flow. Humans are j one form of these reciprocal assemblages; we are within and part of sentient matter-flow. We also co-create with sentient matter-flow, changing the cycles on micro and macro levels, just as they change us. On a macro level human actions have impacted and changed the Earth's biosphere, altering polluting sentient matter-flows to the extent that our present time period is becoming known as the Anthropocene, the human age of destruction an disconnection. There are many efforts to readdress our anthropocentric feelings of apathetic disconnection from the Earth; one is found in the arts correlates with my practice-led research. This doctoral study of sensate experiences of materiality and haptic thinking, which provide both maker an audience with direct palpable experience of time, forms a specific understanding of touching impermanence. My art processes involve working with ta materials such as beeswax; tree branches, stumps and bark; paper; ash; rocks; ice; snow; charcoal; light and fungi. Engaging with these materials cocreatively involves a methodology of touch, multisensorily following materialities' sentient matter-flow. Acting with the material, I am present to th material's own sense of time, interactions, agency, histories, layers of interbeing and interconnections with surrounding matter. This requires being op to the mysteriousness of materials, inviting moments of enchantment within art encounters and the realisation of touching impermanence. This thesis investigates my studio practice and works produced, alongside related practices of Australian and international artists, by drawing on the intersection between New Materialism discourses and Buddhist philosophy to address aspects of phenomenology and eco-philosophy in the complexities of these practices and artwork encounters. URI:
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Papers by Kath Fries