Traditional Narratives and Sculptural Forms: Translating Narratives Into Material Expressions

University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2017 Traditional Narratives and Sculptural Forms: Translating Narratives into Material Expressions Kathleen Stehr University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. 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Recommended Citation Stehr, Kathleen, Traditional Narratives and Sculptural Forms: Translating Narratives into Material Expressions, Masters of Philosophy (Research) thesis, School of the Arts, English and Media, University of Wollongong, 2017. https://ro.uow.edu.au/theses1/446 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Traditional Narratives and Sculptural Forms: Translating Narratives into Material Expressions Kathleen Stehr This thesis is presented as part of the requirements for the conferral of the degree: Masters of Philosophy (Research) - Creative Arts Supervisor: Dr. Jo Law, Dr. Madeleine Kelly The University of WollongonG School of The Arts, EnGlish and Media Faculty of Law, Humanities and the Arts November 2017 This work is copyright by Kathleen Stehr, 2017. All Rights Reserved. No part of this work may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the author or of the University of Wollongong. The research has been conducted with the support of an Australian Government Research Training Program Scholarship. CERTIFICATION I, Kathleen Stehr, declare that this thesis, submitted in partial fulfilment of the requirements for the award of Masters of Philosophy, in the Faculty of Law, Humanities and the Arts, University of WollonGonG, is wholly my own work unless otherwise referenced or acknowledGed. The document has not been submitted for qualifications at any other academic institution. November 2017 ABSTRACT As a sculptor I am interested in telling stories, particularly those that are the foundation of cultures. In my thesis I arGue that traditional narratives need to be retold and reinterpreted for contemporary audiences. UsinG transmedial narratoloGy as a framework, I explore how narratives can be told in sculptures. Transmedial narratology contends that narrative can be conveyed throuGh all mediums without losinG coherence. This arGument underpins my research question; how can traditional narratives be translated into material expressions? Within this framework, Werner Wolf identified sculpture as a limited narrative medium. My research project identifies narrative possibilities beyond these limitations through material engagement. Extending on Paul Carter’s material thinking, my thesis explores the relationships between artist and materials, and between artwork and audience as the key method to reinterpret and re-tell stories. My exeGetical methodoloGy is reflective practice – a process throuGh which thouGht is inteGrally linked with my creative actions in the reinterpretation of traditional narratives. I further this exploration by analysinG the works of collaborative artist Adam Rish, sculptor Linde Ivimey, and textile artist Mister Finch as artists whose material expressions retell stories. I also examine the installation and exhibition process of Ian Gentle, Terence Koh and Fiona Hall, payinG particular attention to how the use of space assists in the settinG of contexts. In the development of the creative component, I arGue that material selection, construction processes, and spatial installation are all material facets where narratives are embedded within my three-dimensional timber works. My exeGesis and creative work function is a self-reflexive dialoGue that mutually informs and actively pursues ways where meaninGful narratives can be reinterpreted by contemporary audiences. The outcomes of this research project forms an important insiGht into translations of traditional narratives into contemporary sculptural forms and adds to the existinG argument and knowledGe surrounding narrative. ACKNOWLEDGMENTS I would like to express my upmost thanks to my principal supervisor, Dr Jo Law for her encouragement, expert advice, mentorship and honesty throughout my study and research. Without her support and continued feedback, this research project would have been an insurmountable hurdle. Equal thanks Go to my co-supervisor, Dr Madeleine Kelly for her advice and feedback on my material practice. I would also like to thank Denis Whitfield for his professional editing services. This research has been conducted with the support of the Australian Government Research TraininG ProGram Scholarship, for which I am extremely thankful. A special mention Goes to my family and friends for their support, encouraGement and advice throuGhout this research project. TABLE OF CONTENTS Introduction 11 Theoretical and Historical Contexts 21 Artwork Analysis 30 Artistic Practice and Current Body of Work 45 Conclusion 70 Reference List 75 LIST OF FIGURES Figure No. Figure Page Figure 1 Gilles Barbier, 2002, L’Hospice (The Nursing Home), installation, 12 Dimensions Variable Figure 2 Dina Goldstein, 2009, ‘Cinder’, Fallen Princesses series, colour 13 photograph Figure 3 Michele Beevors, 2005-6, Untitled, Debbie Does Disney series, resin and 13 paint Figure 4 Athenodoros of Rhodes, Polydorus of Rhodes, Agesander of Rhodes, 24 27AD, Laocoön and his Sons, white marble, 208 cm x 163 cm x 112 cm Figure 5 Ian Gentle, 1988, Hoary Harry and Giggling Gert, eucalyptus wood, 27 287cm x 158 cm x 70 cm Figure 6 Adam Rish and Hector Jandany, 1997, Devil (Dewarri) on the Midday 30 Show, ochre on linen, 71 cm x 56 cm Figure 7 Adam Rish and Lily Karadada, 1998, Chariots (or Webers) of the Gods, 31 ochre on linen, 71 cm x 56 cm Figure 8 Adam Rish with I Wayan Sumantra, 2008, Works from the Misanthropy: 32 The World Art of Adam Rish series Figure 9 Hindu Demon Guard Figure, 10th century BC, Uluwatu Temple, Uluwatu, 33 Bali Figure 10 Adam Rish with I Wayan Sumantra, 2008, ‘Beans/Kacang KacanG’, 34 Misanthropology: The World Art of Adam Rish series, albesia wood, wax, black japan, 130 cm x 1001 cm x 53 cm, 1 of edition 5 Figure 11 Archaic period Sphinx, 6th century BC, Museum of AnthropoloGy, 35 University of Athens Figure 12 Various examples of traditional Balinese topeng masks 35 Figure 13 Adam Rish with I Wayan Sumantra, 2008, ‘Totem’, Misanthropology: The 36 World Art of Adam Rish series, albesia wood, wax, 300 cm x 120 cmx 15 cm, 1 of edition 5 Figure 14 Adam Rish with I Wayan Sumantra, 2008, ‘His Master’s Voice’, 37 Misanthropology: The World Art of Adam Rish series, albesia wood, wax, reproduction 78 Gramophone, 73 cm x 161 cm x 73 cm, 1 of edition 5 8 Figure No. Figure Page Figure 15 Late 11th/12th and 13th century, Reliquary from the Shrine of St. Oda, 38 silver, silver gilt, copper, copper gilt, enamel (champlevé), rock crystal, horn, 58.5 cm × 38 cm × 5. 6 cm Figure 16 Linde Ivimey, 2008, Bellerophon and Pegasus, steel armature, cast acrylic 40 resin, dyed cotton, natural fibre, natural and cast sheep, turkey and quail bones, human hair, blue topaz, 46 cm x 26 cm x 25 cm Figure 17 Mister Finch, 2014, Untitled (Crowned Swan), cotton Calico and clay, 80 42 cm x 50 cm Figure 18 Kate Stehr, Pivot, 2007, timber construction, 15 cm x 12 cm x 10 cm 47 Figure 19 Kate Stehr, 2012, The Drogue, ‘VoyaGe’ Series, timber, aluminium, metal 48 fixinGs, fishinG net, fibreGlass, 1.37 m x 2.4 m x 5.2 m Figure 20 Kate Stehr, 2015, Hindsight, Oh Wonderful Thing! (Icarus), ‘The 48 ReimaGined Tale’ series, jelutong, quail winGs, brass telescope, petri dish, turned timber bowl, 520 mm x 850 mm x 400 mm Figure 21 Kate Stehr, 2015, Preliminary sketches for Icarus sculpture, on left, full 49 & 22 work idea and on riGht, head detail Figure 23 Kate Stehr, 2015, 2nd preliminary sketch for Icarus sculpture 49 Figure 24 Herbert Lambert, 1898, The Lament for Icarus, oil on canvas, 180 cm x 50 150 cm Figure 25 Kate Stehr, 2015, two laminated slabs of jelutonG 52 Figure 26 Kate Stehr, 2017, Runes, cane, timber, feathers, Perspex, dimensions 55 variable Figure 27 Kate, Stehr, 2017, Generally Benevolent Gods (Ninazu), 2017, cane, tree 56 root, found objects, 430 mm x 1330 mm x 90 mm Figure 28 Fiona Hall, 2014-2015, Manuhiri (Travellers), driftwood, dimensions 56 variable Figure 29 Kate Stehr, 2017, The Search for Knowledge (Odin One Eye), cane, timber, 57 Perspex, 860 mm x 940 mm x 30 mm Figure 30 Kate Stehr, 2017, Call (Gjallarhorn), cane, found objects, 1550 mm x 370 58 mm x 40 mm, (left), 2017, The Trickster (Loki), cane, found objects, 50 mm x 2010 mm x 30 mm (riGht) Figure 31 Kate Stehr, 2015, We Chase Our Tales (Jörmungandr), jelutonG, science 59 glassware, found objects, rope, 500 mm x 68 mm x 750 mm 9 Figure No.

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