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Clancy Phd Thesis 2015 Title Poiesis and Obstruction in Art Practice Type Thesis URL http://ualresearchonline.arts.ac.uk/7842/ Date 2015 Citation Clancy, Catherine (2015) Poiesis and Obstruction in Art Practice. PhD thesis, University of the Arts London, University of Surrey. Creators Clancy, Catherine Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author ` The University of Surrey POIESIS AND OBSTRUCTION IN ART PRACTICE A Thesis submitted for the degree of Doctor of Philosophy by Catherine Clancy Wimbledon College of Art 2012 1. Introduction Abstract This PhD thesis examines the concept of poiesis, that is ‘calling into existence that which was not there before’, in the context of obstruction in studio practice. It poses the question ‘Is there a methodology that engages with obstruction which in turn calls new work’? In this thesis, the concept of poiesis emerging from the late Dr. Murray Cox’s ‘Aeolian Mode’, is analyzed alongside a concept of praxis, (a philosophical companion to poiesis), familiar to artistic practice. This thesis describes the orientation of the original idea, The Aeolian Mode, clinically developed by Dr. Murray Cox in Broadmoor Psychiatric Hospital. This PhD seeks to identify if there are similar ‘tenets of approach’ held within the methodology of ‘The Aeolian Mode’, that would be useful or are identifiable in artistic studio practice. This thesis draws on the work of the philosopher, Professor Richard Kearney, specifically Kearney’s ideas on the necessity of ‘the other’ for ‘radical possibility’ to occur. It maps a context of both Freudian and Jungian interpretations of art practice, identifying how these ideas have shaped the way art is seen today. Furthermore, it challenges the Freudian idea of ‘pathography’ and favours a Jungian approach of ‘individuation’ in the understanding of creative processes. It develops a ‘methodology of the conversation’, interviewing students, established artists, tutors about their approaches to obstruction/poiesis in art practice. Additionally, it examines my own obstruction to painting and identifies the methodology that released me from this obstruction. Conducting these interviews on art practice has enabled me to confirm my initial concerns ii 1. Introduction about Freudian ‘pathography’ whilst validating the possibility of the Jungian concept of ‘individuation’ being of use to art practice. Finally, this PhD discusses the implications for further study and research, which have emerged during the ‘methodology of the conversation’ and the task of dissolving my obstruction to painting. iii 1. Introduction Dedication To my son, Oliver Mackwood, for his continual support iv 1. Introduction Acknowledgements This research would not have been possible without the unfailing commitment of my supervisors Dr. Malcolm Quinn and Tamiko O’Brien. I owe each of them a debt of gratitude for their constant support over the previous five years, for sharing their time and wisdom with me so generously and for the opportunities, conversations, and the subsequent realizations, that affected this PhD research project to its benefit. v 1. Introduction Declaration This thesis and the work to which it refers are the results of my own efforts. Any ideas, data, images, matrixes or text resulting from the work of others (whether published or unpublished) are fully identified as such within the work and attributed to their originator in the text, bibliography or in footnotes. This thesis has not been submitted in a whole or in part for any other academic degree or professional qualification. I agree that the University has the right to submit my work to the plagiarism detection service TurntinUK for originality checks. Whether or not drafts have been so assessed, the University reserves the right to require an electronic version of the final document (as submitted) for assessment as above. vi Contents Abstract ................................................................................................................. ii Dedication ..............................................................................................................iv Acknowledgements ................................................................................................ v Declaration ............................................................................................................vi 1 Introduction ........................................................................................................ 1 1.1 Research aims and who this PhD is for ........................................................................ 1 1.2. The initial idea and the encounter with Dr. Cox .......................................................... 6 1.3. The Aeolian Mode ..................................................................................................... 8 1.4 The influences on the formulation of the research project. ........................................ 13 1.5. The Artists who influenced the trajectory of enquiry John Virtue (painter) and Cornelia Parker (sculptor) ............................................................................................... 18 2. Literature Review ............................................................................................. 25 2.1. Answering a need of studio practice......................................................................... 28 2.2. The Artists Interview, The Talking Cure and The ....................................................... 29 Core Concepts ................................................................................................................ 29 2.3. Freud, Jung and Adler .............................................................................................. 55 2.4. Murray Cox ............................................................................................................. 74 2.5 Can art be taught? .................................................................................................... 79 3. The Methodology of the Conversation.............................................................. 82 T M C ...................................... 83 3.2. Interview with Anthony Caro/ Mark Lawson BBC 10.9.2010...................................... 92 3.3 What I bring to this PhD research project that enables an impartial enquiry .............. 97 3.4. A Qualitative Interview Methodology ...................................................................... 98 4. Self-analysis ....................................................................................................107 4.1. The Obstruction to Painting ................................................................................... 108 4.2. Marion Milner ....................................................................................................... 111 4.3 John Virtue ............................................................................................................. 117 4.4. Self Analysis .......................................................................................................... 120 M C J ..................... 133 5. Analysis of Interviews ......................................................................................144 5.1 Tutors .................................................................................................................... 144 5.2 Established Artists .................................................................................................. 158 5.3 Student Interviews ................................................................................................. 177 5.4. Individuation and Poiesis ....................................................................................... 187 6. Reflections and Conclusions ............................................................................197 Appendix A: Glossary ..........................................................................................221 Appendix B: Biographies of Contributing Artists and Tutors ................................230 Appendix C: Workbook........................................................................................236 Appendix D: Matrixes ..........................................................................................259 Appendix E: Images of Cornelia Parker's Exploding Shed .....................................266 viii Appendix F: Interviews with Established Artists ..................................................268 Appendix G: Interviews with Tutors ....................................................................293 Appendix H: Interviews with Students .................................................................315 Appendix I: Additional Information for Student Interviews .................................325 Bibliography ........................................................................................................328 ix 1. Introduction Chapter 1: Introduction 1.1 Research Aims and who this PhD is for This thesis is concerned with poiesis in the context of art practice. The research was conducted through a ‘methodology of the conversation’ and the self-analysis of my own obstruction to painting. Poiesis means ‘calling into existence that which was not there before’, which comes from the Latin word ‘poesis’ and from the
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