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University of Huddersfield Repository University of Huddersfield Repository Gaffney, Sheila Elizabeth Embodied Dreaming as a sculptural practice informed by an idea in the psychoanalytical writings of Christopher Bollas. Original Citation Gaffney, Sheila Elizabeth (2019) Embodied Dreaming as a sculptural practice informed by an idea in the psychoanalytical writings of Christopher Bollas. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/35260/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Embodied Dreaming as a sculptural practice informed by an idea in the psychoanalytical writings of Christopher Bollas. SHEILA ELIZABETH GAFFNEY A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for Doctor of Philosophy The University of Huddersfield December 2019 CONTENTS Acknowledgements Abstract Publications that have arisen from the thesis Sculptures that have arisen from the thesis List of Illustrations 1.0 Introduction p15 1.1 British sculpture, my learning & encounter with feminism p18 1.2 British sculpture history and the British conditions of sculpture p24 1.3 The research question p28 1.4 The presentation of the research p29 1.4.1 Transcription p29 1.4.2 The photo-works p31 1.4.3 The armature p32 1.5 Overview of the thesis p33 2.0 Methodology p36 2.1 Practice & theory relationship p36 2.1.1 Introducing Artistic Research p38 2.1.2 The democracy of experiences p39 2.1.3 Methodological abundance p41 2.1.4 Inside-in p43 2.1.5 Verbalisation p45 2.2 The ‘democracy of experiences’ in Embodied Dreaming p46 2.3 Staging the methodology p47 2.4 Life Writing p48 2.4.1 Diaristic p51 2.4.2 Autobiographical p52 2.4.3 Fictional p52 2.4.4 Historical p56 2.4.5 Quasi autobiographical p58 2 2.4.6 Life writing summary p59 2.4.7 Revising past works through life writing to find Embodied Dreaming in my practice p61 2.4.8 Life writing now as the processual tool in Embodied Dreaming p64 3.0 Embodied Dreaming as Artistic Research p65 3.1 Object relations theory p67 3.2 Play, dream, and real in Bollas’ ‘embodied dreaming’ p70 3.3 Embodied Dreaming as an approach for making sculpture p74 4.0 Embodied Dreaming I (Dublin 1965) p76 4.1 The family photographs p84 4.1.1 Self and idiom p90 4.1.2 Observing from life p93 4.2 Modelling p93 4.2.1 The carving modelling hierarchy p94 4.2.2 Learning modelling at Camberwell p95 4.2.3 Modelling - modelling p101 4.2.4 Modelling - modelling Embodied Dreaming I (Dublin 1965) p107 5.0 Reflections on The Good, The Bad & The Ugly p109 5.1 In the gallery p113 5.2 In the studio p112 5.2.1 Size and sculpture p117 5.3 In the writing p124 5.3.1 In the family photograph p129 5.3.2 Germaine Richier v. Reg Butler p132 5.3.3 The game of analogy p138 6.0 St. Lucy and Dressing Table Vanitas p141 6.1 Casting p142 6.2 The family photographs p149 6.3 St Lucy and Dressing Table Vanitas p153 6.3.1 St Lucy p153 3 6.3.2 Dressing Table Vanitas p157 6.4 Casting as research p158 6.4.1 Sarah Lucas and the casts of her friends p159 7.0 All at see p164 7.1 Looking at All at see p164 7.2 The ‘democracy of experiences’ in All at see p171 7.2.1 Feminist attitude in the ‘democracy of experiences’ p174 7.2.2 Reading All at see p176 8.0 The ends of the stories p180 9.0 Conclusion p185 9.1 Findings from the research process p185 9.2 Relevance of the research p189 Bibliography p193 4 Acknowledgements I would like to thank my supervisors Dr Alison Rowley and Dr Rowan Bailey. I could not have completed this journey without their belief in my project. They have both generously given years of encouragement, guidance, sound advice and most importantly positive criticism. I also thank sculptors Paul de Monchaux, Garth Evans and Rob Ward for the generous conversations about making sculpture, which have given validation to my ideas. 5 Abstract This thesis is written as an element of PhD research by sculpture practice, undertaken in response to the idea of ‘embodied dreaming’, a phrase originated by British psychoanalyst Christopher Bollas (1999). The investigations through practice, and the arguments made, construct a new definition of sculptural practice that embeds the psychic life of the maker in the action of making, and explores how this might contribute to existing histories of British sculpture. I use a capitalised form of Embodied Dreaming to differentiate my use from Bollas’. The concept of Artistic Research (Mika Hannula, Juha Suoranta and Tere Vadén, 2005) is used to characterise sculptural making in methodological terms and its key principle the ‘democracy of experiences’ enables the research to bring together critical and analytical practices with action based, manual processes in a way that has relevance to contemporary identity questions. The traditional processes of modelling and casting are reconfigured to encapsulate an understanding of the psychic activity of the maker when making, in relation to identity formations that have class, gender and multigenerational ethnicity in their scope. The research asks the question: how can sculpture convey what it is like to inhabit a woman’s body as the researcher knows it, which is differently positioned from the masculine contributions to the history of figuration that constitute the European and British sculptural canon from Rodin to the present day? Life writing, from a feminist perspective, is the key method used to reveal the interpretative psychoanalytical approach employed in the research, it is the way that knowledge of making is explicated, in methodological terms, from inside the practice as lived experience. The arguments made demonstrate how my proposal of Embodied Dreaming, which is the result of this research, is a way to understand what Tim Ingold has described as ‘thinking through making’, and analyse sculpture that results from such a practice (2013). 6 Publications that have arisen from the thesis Gaffney, S. 2019. Parallel Lines: Sculpture and Drawing, Ingram Collection of Modern British Art, The Lightbox, Woking (contributor) [Show/Exhibition] Gaffney, S., Taylor S. 2018. Regenring… visual lives, Journal of Writing in Creative Practice Volume 11 Number 2, pp. 217 - 232. doi: 10.1386/jwcp.11.3.217_1. Gaffney, S. 2018, Me & You, Dean Clough Galleries, Halifax (curator) [Show/Exhibition] Gaffney, S. 2017. The Sickness of Being Disallowed: Premonition and Insight in the ‘‘Artist’s Sketchbook”, OAR: The Oxford Artistic and Practice Based Research Platform. Issue 2, Validity, ISSN: 2399-5092. Gaffney, S. 2017, MAKING…Making Research, Leeds Arts University Gallery, Leeds (contributor) [Show/Exhibition] Gaffney, S. 2017. A Story Within a Story Within a Story Within a Story: British Art School Experience Retrieved Through Archive, Anecdote and Life Writing, n.paradoxa: international feminist art journal. Volume 40, Ends and Beginnings, pp. 80-88, ISSN 1461-0434. Gaffney, S. 2016. The ING Discerning Eye, Mall Galleries, London (contributor) [Show/Exhibition] Gaffney, S. 2016. Thought Positions in Sculpture, ROTOR, Huddersfield Art Gallery (contributor) [Show/Exhibition] Gaffney, S. 2016. Headspace. Scarborough Winter School. Crescent Arts (contributor) [Show/Exhibition] Gaffney, S. 2015. Class Forms (Solo exhibition) Leeds College of Art Gallery (curator) [Show/Exhibition] Gaffney, S. 2015. The Process Continues, Leeds College of Art Gallery (contributor) [Show/Exhibition] Gaffney, S. 2015. Modelling lines of sculptural thought: The use of a transcription project to interrogate, intervene and dialogue with a sculpture archive, Le Feuvre, L. (ed) 2015 Henry Moore Institute Essays in Sculpture. 73: Active Archives, Henry Moore Foundation, ISSN 2047-2471 ISBN 978-1-905462-50-6. 7 Gaffney, S. 2014. Embodied Dreaming in the Archive, Bailey, R. (ed) 2015 Journal of Writing in Creative Practice. 7: 3 pp.387-401, doi: 1386/jwcp.7.3.387_1. Gaffney, S. 2015. Reflections On The Good, The Bad And The Ugly, Bailey, R. (ed) Thought Positions in Sculpture: Artists’ Writing. Retrieved from https://www.hud.ac.uk/research/researchcentres/st/thoughtpositionsinsculpture/. Gaffney, S. 2014, Tacit Knowledge, Syracuse University, NY USA (curator) [Show/Exhibition] Gaffney, S. 2013, Sculpture, Photography and the Index, The Cooper Union School of Art, NYC, USA (curator) [Show/Exhibition] 8 Sculptures that have arisen from the thesis Top: detail of The Good, The Bad & The Ugly. Bottom: St Lucy 9 Top: Embodied Dreaming 1 (Dublin 1965).. Bottom left: All at see. Bottom right: Dressing Table Vanitas. 10 Detail: The Good, The Bad & The Ugly. 11 List of Illustrations Unless otherwise named all works are by the author. 1. Academic poster visualising artistic research for I heard the wallpaper in my skin exhibited in footNOTES, Henry Moore Institute, 2003 p54 2. Academic poster visualising artistic research for drawing Ricrac 2008 p55 3.
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