Material Memories

There has been much discussion in the Campbell / Walsh household (artist / scientist ... say no more) on material memories.  Or more specifically, how the narrative of memory can be made evident in objects.  A major stumbling block has been the artist's (my) assertion that there is such a thing as a material memory, which has been opposed at every opportunity by the scientist's assertion that memories may be triggered by an object, but cannot actually reside in the object.  

Like many others, I have long been attracted to antique embroidery samplers.  Technically challenging, exquisitely executed ... evidence of hours and hours of work.  What would the impact be if I were to reduce this work to a memory.  A lucky find of a beautifully stitched tray cloth in a charity shop offered an opportunity to investigate, but my usual ruthless approach to destruction was unexpectedly halted.  Not dissimilar to taking the first cut when cutting out a dressmaking pattern from cloth, I found it incredibly difficult to make the first incision.  However, cut I did, and painstakingly removed the stitches, colour by colour.

Was I being disrespectful to the original stitcher?  Would it be possible to reduce this work to a memory  and if so, what would its impact be? To be honest, I'm still not sure.  Once the first stitch had been removed, the original beauty was slowly replaced by a new, quieter, aesthetic.  The process was slow and considered, and allowed plenty of opportunity for reflection ... and I suspect that it is in the reflection that the real memory work was happening.

Studio Work in Progress Material Memory © Vanda Campbell 2013 

Studio Work in Progress Material Memory  © Vanda Campbell 2013

Studio Work in Progress Material Memory  © Vanda Campbell 2013

Studio Work in Progress Material Memory  © Vanda Campbell 2013

Material Memory  © Vanda Campbell 2013

Questioning the clichés

It is so easy to talk in stereotypes and respond to questions with clichés, that a concerted effort is needed to overpower their allure.  Without an awareness, trite and banal responses can be regurgitated at many an opportunity.  It may fool some, which if I'm honest is sometimes appealing, but there is little satisfaction to be found in tricking an ardent fan while a respected peer looks on with a wry smile.

Some examples I'm guilty of …

"layers of narrative" - this is often banded about by makers in an attempt to gloss over the contextualization of their work.  There are many narratives embedded in a work, but to use the term 'layers' implies they are separate and chronological, which is rarely the case.  The narrative of a work may be a tangled mess of ideas and threads, overlapping, connecting and colliding with each other to create many new potential narratives.

"applied art" - this implies art which is 'applied' to a form.  I don't apply my art to anything.  Where does that leave me?

"found objects" - in my case I attribute this term to anything bought, received, donated, used … I don't need to find it at all!

Enough is enough.  As a maker I pledge to try to take nothing for granted, and to ask the questions others are too silenced to ask.  I have found sanctuary in the work of David Gates - a maker who constantly asks questions - of form, function, materials and language.  

Dressing-Stand, 2011 © David Gates

Isn't this piece wonderful?  Made as a contemporary response to the now neglected the dressing table, it's a great example of not taking anything for granted.  Furniture doesn't need four legs.  Drawers don't need to hang from underneath the table surface.  The different woods are allowed to revel in their distinctive colours and qualities, rather than being secreted under a layer of Dulux's finest ... simply yummy.