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Marvelous Monsters Western University Scholarship@Western Electronic Thesis and Dissertation Repository 7-8-2021 10:00 AM Marvelous Monsters Thomas Bourque, The University of Western Ontario Supervisor: Migone, Christof, The University of Western Ontario A thesis submitted in partial fulfillment of the equirr ements for the Master of Fine Arts degree in Visual Arts © Thomas Bourque 2021 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Fine Arts Commons Recommended Citation Bourque, Thomas, "Marvelous Monsters" (2021). Electronic Thesis and Dissertation Repository. 7914. https://ir.lib.uwo.ca/etd/7914 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract This Master of Fine Arts (MFA) Thesis Dossier, together with the MFA Thesis Exhibition Marvelous Monsters (2021), presents: a Comprehensive Artist Statement; Practice Documentation; a Case Study on Canadian artist David Altmejd; a Bibliography; and my curriculum vitae. The Practice Documentation section of this dossier highlights key pieces of my creative explorations over my time in the Visual Arts Department at Western University as well as photographic documentation of Marvelous Monsters. Taken as a whole, this MFA Thesis Dossier explores and situates immersive digital installation studio practice with research into beauty, abjection, monstrosity, hybridity, Surrealism, and speculative worlding as guided by key thinkers and artists (including Edmund Burke, William Hogarth, Mary Shelley, André Breton, Max Ernst, Julia Kristeva, David Altmejd, Rona Pondick, and Kelly Richardson). Keywords abjection; Altmejd, David; automatism; beauty; the bizarre; Breton, André; bodies; Burke, Edmund; Ernst, Max; food; Frankenstein; grotesque; Hogarth, William; hybridity; Kristeva, Julia; monstrosity; perceptions of reality; Pondick, Rona; Richardson, Kelly; Shelley, Mary; speculative worlding; Surrealism. ii Summary for Lay Audience This Master of Fine Arts (MFA) Thesis Dossier, together with the MFA Thesis Exhibition Marvelous Monsters (2021), presents: a Comprehensive Artist Statement; Practice Documentation; a Case Study on Canadian artist David Altmejd; a Bibliography; and my curriculum vitae. The Practice Documentation section of this dossier highlights key pieces of my studio work in the Visual Arts Department at Western University as well as photographs of the Marvelous Monsters exhibition. Altogether, this MFA Thesis Dossier looks at ideas of beauty and ugliness through concepts of monsters, bodies, and other worlds. iii Acknowledgements I would first like to sincerely thank my advisor, Dr. Christof Migone, for all of your support and encouragement throughout this process. Your sensible advice and knowledgeable guidance have been an integral and invaluable component of my degree, and I genuinely thank you for keeping on top of things every step of the way so efficiently and professionally. I would also like to thank all the faculty who have also been a fundamental and friendly support throughout this journey. Particularly, Professors Patrick Mahon, Kelly Wood, David Merritt, Anna Madelska, Soheila Esfahani, and Drs. John Hatch and Christine Spengler, all whom I have been blessed to meet and work with. I am coming out of the MFA programme not only as a more proficient artist and academic but as a stronger person. Thank you, all. To Anahi, Declan, Faith, and Rebecca: There are no words to describe how thankful I am to have been placed with such a fantastic cohort as you four. I will never forget the experiences and conversations that we have endured together, and I have gained some new best friends because of them. I deeply wish you all the absolute best moving forward into your subsequent and continuing journeys. To all my family (Bourque and Mayberry) and my friends: The encouragement and support have been overwhelming, to say the least. Thank you for believing in me, in my passions, and in my goals. And lastly, to the most impressive, amazing, and loving partner anyone could wish for, Tommy Mayberry: You will never understand how much you have taught me throughout the years, how much you have helped me achieve my dreams, and how much your love, support, and patience have helped me become who I am today. I can never thank you enough. iv Table of Contents Abstract………………………………………………………………………. ii Keywords…………………………………………………………………………... ii Summary for Lay Audience………………………………………………….. iii Acknowledgements…………………………………………………………... iv Table of Contents…………………………………………………………….. v Introduction…………………………………………………………………... 1 Chapter 1: Comprehensive Artist Statement…………………………………. 3 Romantic Surrealism……………………………………………………………….. 5 Beautiful Abjection………………………………………………………………… 10 The (Post)Human Body……………………………………………………………. 16 Conclusion: So, Why “Marvelous Monsters”?.......................................................... 20 Chapter 2: Practice Documentation…………………………………………... 22 Chapter 3: Case Study [David Altmejd]……………………………………… 40 Body Transformations: Bodybuilders……………………………………………… 41 Body Transformations: Werewolves………………………………………………. 43 Giants, Oh My!.......................................................................................................... 46 The Infinite, and the Unfinished…………………………………………………… 48 Figures……………………………………………………………………………… 51 Bibliography………………………………………………………………….. 53 Curriculum Vitae……………………………………………………………... 56 v 1 Introduction My creative and imaginative self has always been intrigued with unconventional, strange, and eccentric aesthetics in and around dubious artwork. And I have constantly been striving to obtain an aesthetically driven dark happiness within my work and research. This journey through academia and my Master of Fine Arts degree has solidified and uncovered a more profound understanding within myself of the significance of seeking a purer sense of self-expression and creativity through objects, relationships between objects, and speculative imagery through unique worlding practices. My understanding of my work once lacked an in-depth consideration between particular oppositions that were always presenting themselves across my practice. There was a division between my perfectionist tendencies to make anything and everything neat, pretty, and tidy while still striving for dark emotions. This thesis dossier and body of work aims not to reject these qualities in my work but to appreciate this division and bridge this gap without fully closing it. This Master of Fine Arts (MFA) thesis dossier contains three chapters in tandem with my thesis exhibition, which will take place at the Artlab Gallery at Western University from June 25th through July 16th, 2021. Three core chapters comprise this thesis dossier: a Comprehensive Artist Statement; the Practice Documentation; and a Case Study on Canadian sculptor David Altmejd. The dossier, along with my thesis exhibition, is a complete embodiment of my overall research and practice throughout the duration of my MFA candidacy here at Western University. The first chapter is my Comprehensive Artist Statement that is broken down into three main subsections, each of which encompasses a critical exploration into my marvellously monstrous body of work, as well as a conclusion that explains why marvelous monsters. The first subsection, “Romantic Surrealism,” examines the influential movement of Surrealism and the 2 precursory Romantic art and literature that inspired the Surrealists’ ideas and methodologies. The second subsection, “Beautiful Abjection,” consists of a brief investigation into the seemingly oppositional forces of abjection and of beauty as well as the theoretical results that can occur between them. The third subsection, “The (Post)Human Body,” touches on the human body, the posthuman body, and how human and animal hybrids function as monstrous and marvelous bodies that exemplify a complexity of dualisms and of oppositions. This first chapter ends with a Conclusion, “So, Why ‘Marvelous Monsters’?” that explains my choice of thesis work, research, and exhibition title through etymology and the cultural afterlife of Mary Shelley’s Frankenstein. The second chapter is my Practice Documentation, which includes photographic documentation of selected pieces throughout my MFA degree and thesis exhibition. The documented work consists of sculpture, video, and installation as well as immersive mergings of all three. My Practice Documentation is accompanied by formal information as well as a brief description of how the individual works fit and are situated within my overall concepts, themes, and research. The third chapter is my Case Study that presents an in-depth exploration of Canadian artist David Altmejd. Titled, “Bodybuilders, Werewolves, and Giants, Oh My: David Altmejd’s Bodily Transformations and the Potentiality/Infinity of the Object,” this case study focuses on three key reoccurring figures within his practice—the Bodybuilder; the Werewolf; and the Giant (oh my!)—and discusses Altmejd’s unapologetic creations/monsters both in and of themselves as well as via their respective similarities that inspire, push, and parallel my body of work and research. His fascination with energy and potential that he gifts to his sculptures through their unfinishedness and their saturation of infinity is how I conclude this Case Study and gesture to the menagerie
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