editing disabled

Research project 3 • Reuben Sinha • A&AH 5005.
Title: Assessing the artist’s studio working practice as a function of space as theorized by Gaston Bachelard.
Why: To create a method by which the artist visualizes his practice:
[A = artwork created – dependent variable],
as a function of a set of significant influences:
[B = conscious and unconscious patterns of intention – independent variable].
If B = geographical spaces each variable inhabits in my thoughts, (now and then),
then A Can be assessed in terms of:

· the distance between spaces X
· overlap in space Y
· the symbolic nature of the space Z
Question: Will X, Y, and Z create new variables for artists to explore in the studio.

In ‘Poetics of Space’ Bachelard speaks about space as an element that transcends time. Space has metaphorical value through which we connect past, present and future. Our memories can be made to exist in separate spaces, like the rooms and corners of a house. We endow the attics and cellars of our homes with psychological significance, the locales our homes are rooted to carry symbolic value for the experiences of those years. Spaces can symbolize our experience, our beliefs, our hopes and that space can be classified to show how the beliefs, hopes and experiences relate to each other and even overlap.
Q: Bachelard describes the symbolic properties of the space of a house. How can we define the symbolic properties of the space in artistic practice?
Q: How do Bachelard’s ideas inform this area of study in a new way?
Q: Our studio practice exists in context of the memories, experiences and beliefs that went into the process of creating the artwork. If we map and classify these experiences and thoughts from the studio process, what can we learn?
Q: the strenght of the Visual arts has been to give a physical dimension to abstract and often unconnected ideas. If we map and classify these experiences and thoughts in relation to my interests in other sciences: logic, philosophy, psychology, anthropology, education, history, and religion, what insight will we gain? How will this method of engaging with current theories, in art based research, art education and arts role in understanding a truth, in the domains of visual arts create new knowledge?
Q: How Does current research and theory describe the space art inhabits?
Q: Does mapping the ‘creative accidents’ in art help us understand arts claim to truth?
Q: Can it be taught as a possible process/tool in art by which new understandings are drawn?
Answering the question/Empirical Framework: Images of the artwork used, sketches use to develop the work and artist proofs where of intaglio prints are used. Notes of the working methods, obstacles, and journal on reflections of conceptualizing each work will be used to identify the variables. Empirical framework is also basis for analysis of theoretical background materials in relation to intentions, accidents and outcome of the art work.