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Mechanisms of In-Betweenness: Through Visual Experiences of Glass

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Mechanisms of In-Betweenness: Through Visual Experiences of Glass Mechanisms of In-Betweenness: Through Visual Experiences of Glass MIN JEONG SONG A thesis submitted in partial fulfilment of the requirements of the Royal College of Art for the degree of Doctor of Philosophy February 2014 Copyright Statement This text represents the submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgment. 2 Abstract This practice-led project explores the idea of in-betweenness through the physical and metaphorical aspects of glass. The starting point of the research is that glass, as an artistic medium, when examined with a focus on materiality and the making process on both physical and metaphoric levels, can be compared to the idea of cultural in-betweenness. My aim is to provide metaphoric and theoretical analogies that contribute to an understanding of in-betweenness. To examine the mechanisms of in-betweenness, this research integrates literature review with studio practice and object analysis to interpret the material and process of making objects in both literal and metaphorical dimensions. Historical glass artefacts are analysed to explore the idea of a trans-culture embedded in glass exchange between East Asia and Western Europe during the early modern period (roughly sixteenth to nineteenth centuries) and in practice today. Building on the pre- existing scholarly analysis of objects from disciplines including anthropology, art history and archaeology, I experimented with glass and creative process in the studio to provide a fresh analysis based on the materiality of glass and the making process. Findings achieved through the conceptual and practical research reveal parallels between the idea of cultural in-betweenness and the materiality of glass. The analogies drawn from my studio practice and theoretical research for understanding the mechanisms of in-betweenness include: - In-betweenness is a fluid concept that is in a transitional state: the state of ‘becoming’. - In-betweenness is a gradual yet disruptive action that breaks the order of things. 3 - In-betweenness is a process of partial or selective abstraction to the extent where the awareness of origin remains whilst ambiguity is also present. - In-betweenness can be achieved through a mixture of control and chance. It is deliberate creation with an element of chance while some amount of control is maintained. 4 Table of Contents Copyright Statement ............................................................................................................................... 2 Abstract .................................................................................................................................................... 3 List of Illustrations .................................................................................................................................... 7 Acknowledgements ................................................................................................................................ 9 Author’s Declaration .............................................................................................................................. 10 Introduction ............................................................................................................................................. 11 I. In-Betweenness 1.1 Introduction .............................................................................................................................. 20 1.2 Culture of In-Betweenness and the Third Space ............................................. 20 1.3 In-Between Styles ................................................................................................................... 30 1.4 Culture of Glass ................................................................................................................ 34 1.5 Studio Practice .................................................................................................................. 41 1.6 Conclusion ........................................................................................................................... 50 II. Glass, Cultural Material and Metaphor 2.1 A Selective History of Glass in East Asia ............................................................................ 52 2.1.1 Introduction .................................................................................................................. 52 2.1.2 Interpretive Rationale ........................................................................................ 53 2.1.3 Glass in Early Modern China .......................................................................... 60 2.1.4 Glass in Early Modern Japan: Edo Kiriko and Satsuma Kiriko ............................... 67 2.1.5 Studio Practice ............................................................................................................. 73 2.2 In-Betweenness explored through Blue-and-White Porcelain ........................................... 78 2.2.1 Introduction .................................................................................................................. 78 2.2.2 Blue-and-White in Glassware ........................................................................ 82 2.2.3 Studio Practice ............................................................................................................ 85 2.3 Trans-Culture and Trans-Material ........................................................................... 89 2.4 Glass as a Cultural Medium: Contemporary Glass in East Asia .............. 96 2.5 Conclusion ......................................................................................................................... 107 III. Mechanisms of In-Betweenness 3.1 Introduction ........................................................................................................................... 109 3.2 Form and Surface .......................................................................................................... 116 3.3 Materiality .............................................................................................................................. 127 3.4 Glass and Ornament ................................................................................................... 129 3.5 Workmanship .................................................................................................................. 131 3.5.1 Post Minimalism and Process Art .............................................................. 132 3.6 Conclusion ........................................................................................................................ 138 5 Conclusion ......................................................................................................................................... 141 Bibliography ...................................................................................................................................... 149 Appendix ............................................................................................................................................ 165 6 List of Illustrations Figure 1. Harvey Littleton, Vase, 1965, Corning Museum of Glass ........................................................................................ 39 Figure 2. Marvin Lipofsky, RIT Group 1996-97, Toledo Museum of Art ..................................................... 39 Figure 3. Erwin Eisch, Telefon, 1971, Corning Museum of Glass .......................................................................................... 39 Figure 4. Reticello Plate, Venice, 1600-1699, Corning Museum of Glass ............................................................................ 45 Figure 5. Min Jeong Song, Patterns and Memories Reflected on Glass, 2010 .................................................................... 47 Figure 6. Portland Vase, Italy, AD 5-25, British Museum ......................................................................................................... 60 Figure 7. Vase, China, 1736-1795, V&A Museum ................................................................................................................ 60 Figure 8. Snuff Bottle and Stopper, China, 1730-1820, Corning Museum of Glass ............................................................ 60 Figure 9. Two Kuyueh Hsuan-type Enameled Vases, 1736-1795, China, Corning Museum of Glass ............................ 62 Figure 10. Tea Cup and Saucer, Venice, 1725-1775, Corning Museum of Glass ................................ 62 Figure 11. Chinese Cameo Vase, England, 1890, Corning Museum of Glass ................................................. 64 Figure 12. Chinese Gilt Bowl, China, 1736-1796, Corning Museum of Glass ......................................... 66 Figure 13. Sandwich Gold-Glass Bowl, Southern Italy, 270-200BC, British Museum ......................... 66 Figure 14. Three Goblets, Japan and Netherlands, 18th -19th centuries, Suntory Museum of Art ..................................... 68 Figure 15. Strawberry Diamond Cut Glass Pattern, Ireland, 1820-30, National Museum of Dublin ................................. 69 Figure 16. Three Satsuma Glass Objects, Japan, 19th century, Suntory Museum of Glass ............................................... 70 Figure 17. a) Émile Gallé, Milky
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