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SUBMITTED TO THE DEPARTMENT OF ART
STATE UNIVERSITY OF NEW YORK AT NEW PALTZ
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FOR THE DEGREE OF
MASTER OF FINE ARTS
another, inherently rely on some form of exchange. We exchange the tangible (goods
and services), and the intangible (ideas, beliefs, values), all which shape the world in
which we live.
The controversial auctioning in March 2009, of Mahatma Gandhis personal belongings
(pocket watch, sandals, eye glasses, cup and bowl), is a poignant example of the
complexities with which values are embedded and the conflict that arises beyond
qualitative and quantitative measurement of value regarding cultural heritage and
representation. The exchange of Gandhis things exemplifies the commodification of
Gandhi as an icon while undermining the anti-materialist agenda that shaped the
philosophy and spirit of the man himself. The sandals once worn by Gandhi maintain a
life beyond Ghandis utilitarian need and have been identified and re-imagined in a
Manhattan auction as artifact, commodity and tangible Indian heritage. In my own work, I
rely on complex interpretations of objects to highlight particular cultural associations and
assumptions in the use of specific objects and materials.
The ubiquity of the plaid plastic bag, found in New Paltz, Venice, Lima, and Accra,
motivated the series of bags titled Inclusion/Exclusion. Investigation in the visual
reinterpretation of a transnational object, the abstracted versions of the original bags
provide a visual ambiguity that parallels the relationship between the intention and
consequence of use occurring within time and space of exchange. The abstracted forms
maintain their reference to a bags utility, mobility,
displacement, as supplemental to a users daily
exchanges and travels. Luggage aims to track the
shifting significations of what constitutes belonging and
the naturalized relations to place. (Rogoff 37) Inclusive in
its utility, bags are inherently exclusive in what kind of bag
one may acquire, what can be contained inside, and for
Plaid Bags (left to right):
Peru, New York City, Venice,
Kingston
red, white, and blue, confronts the viewer with questions regarding hierarchies of quality
and consumption within the global economy.
What is theoretically innovative, and politically crucial, is the need to think beyond
narratives of originary and initial subjectivities and to focus on those moments or
processes that are produced in the articulation of cultural difference. These in-between
spaces provide the terrain for elaborating strategies of self-hood- singular or communal-
that initiate new signs of identity, and innovative sites of collaboration, and contestation,
in the act of defining the idea of society itself. -Homi K. Bhaba The Location of Culture
In search of ways to articulate the space between things, I have looked more closely into
life historiesiii (Kopytoff) of transnational objects. The social life acquired through an
objects production, consumption, and domestication is evident in the reinvention of use
and meaning as an object acquires new ownership, and is re-identified within new
contexts.iv The intention in use for a plastic basket could be for organizing and storing
ones material detritus. However, the function calculated in the knowledge of production
may be, and is often times, re-imagined as it is consumed. Cultural imagination
(Appadurai 31) favors the uncertainties and complexities within the lived world, where
creativity is activated in response to evolving global processes.
In my current body of work Touchmarks: The Social Life of Plastic Baskets, I
transform fragments of plastic baskets, and create new objects in response to my own
empirical research. The forms are fabricated to suggest a process of use. Familiarity in
scale and form to domestic objects
and associations with decorative
elements provide a familiarity that
provides a link between each of the
individual works. My persistence in
formatting the work, as analogous
to one another, is an attempt to represent the cultural associations
Touchmarks Installation at Dorsky Museum of Art
May 2011
commodity.v Through material and format, each individual work in this series embodies
the exchange of difference (looks like a basket, but is not). Collectively, the works
present an extension into the inquiry of same same but different. Presented on a single
plane juxtaposed as natural distance from one another, furthers the conversation
between what may be similar and different between the works.
Touchmarks: Aristo
pewter, 2008
to pewter further distances the viewer from the real. This distance
is imperative in this particular work, as it challenges assumptions regarding what is real,
creates an opportunity for negotiation between the familiar and the unknown, in an attempt to
re-establish a new structure for evaluation.
Plastic baskets epitomize Western relationship to many goods: cheap, accessible and
disposable. The plastic woven pattern, as simulacra to the handicraft of basketry, evokes a
longing for that which the hand once crafted. Frederic Jameson describes this as nostalgia
of the present, a state in which we consume nostalgia divorced from lived experience.vii
Paradoxically, we continue to consume the new as representation of the past: shabby chic
furniture, stonewashed jeans, vintage logo t-shirts. Blinding us of the present, the woven
basket pattern and patination of pewter in Touchmarks coddles the viewer into this illusion, to
be confronted with an unexpected reality: Made in China.
reducing human relationship with production labor and distribution labor to complex
numbering systems or simplified to the generic label of a vast country. Discrepancies in
knowledge as presented by Arjun Appadurai exist as distances increase (between
producer and consumer), so the negotiation of the tension between knowledge and
ignorance becomes itself a critical determinant of the flow of commodities. In
Touchmarks: Social Life of Plastic Baskets, plastic corporate markers, cast in pewter,
are embedded within the transformed objects, creating a place for contemplating the
relationship between producer and consumer and addressing the value of labor.
My interest in the practice of metalsmithing is driven and confirmed by my
satisfaction in the making process. Problem-finding roots my research, observations and
reflections of the interactions between people, place, and things. Making becomes a
response to my findings, a problem-solving of sorts, resulting in objects that represent
both decisions made in the deliberation of intellectualizing and in the intuitive impulses
that lies within the formal investigative making process. The plurality of metalsmithing
and the life of commodities in my work are analogous to current negotiations between
the reinvention and preservation of tradition as being challenged within the context of the
globalization process. I use metalsmithing techniques evolving from the past with the
anticipation of its relevance in the future. It is in the presence of current global times that
my work is in conversation with the present. viii The social life of this work will be
transformed, new meanings will be inscribed, viewer imagination will transform the work
as experienced beyond this moment of its conception.
i
Refer to Inda, Jonathan Xavier and Rosaldo, Renato. (eds.) The Anthropology of Globalization: A Reader.
Malden, MA: Blackwell, 2002.
ii
Refer to Oates, Tim. Get Real! On Being Yourself and Being a Tourist Travels in Paradox: Remapping
Tourism Rowman &Littlefield Publishers, Inc 2006
iii
refer to Igor Kopytoff The cultural biography of things: commoditization as process in Appadurai, Arjun.
The Social Life of Things: Commodities and Cultural Perspective. London: Cambridge University Press,
1986. P. 64-95
iv
A poignant exampleof this is the ethnographic research by Karen Tranberg on the revalorization of
Western clothing in Lusaka, Zambia. Transnational Biographies and Local Meanings: Used Clothing
Practices in Lusaka Journal of Southern African Studies, Vol. 21, No.1 Special Issue: Urban Studies and
Urban Change in Southern Africa (Mar., 1995) Taylor and Francis Ltd. Pp. 131- 145
v
The framework from which I am addressing cultural difference is with Appadurai in mind as he states
culture is not usefully regarded as a substance but is better regarded as a dimension of phenomena, a
dimension that attends to situated and embodied difference. Stressing the dimensionality of culture rather
than its substantiality permits out thinking of culture less as property of individuals and groups and more as a
heuristic device that we can use to talk about difference. Modernity at Large: Cultural Dimensions of
Globalization. Minneapolis: University of Minnesota Press, 1996. P. 13
vi
Refer to Chambers, Erve. Native Tours: The Anthropology of Travel and Tourism. Illinois: Waveland Press,
2000. P. 95
vii
Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneaplois: University of
Minnesota Press, 1996. P.77
viii
Octavio Paz makes reference to the presence of the present in The Search of the Present Nobel
Lectures, Literature 1981-1990. Singapore: World Scientific Publishing Co., 1993.
http://nobelprize.org/nobelprizes/literature/laureates/1990/paz_lecture.com
Osburn, Burl N. and Gordon O. Wilber. Pewter-working: Instructions and Projects. New
York: Dover, 1979.
Paz, Octavio. In Search of the Present Nobel Lectures, Literature 1981- 1990.
Singapore: World Scientific Publishing Co., 1993.
http://nobel_prizes/literature/laureates/1990/paz-lecture.com
Pinney, Christopher. Camera Indica: The Social Life of Indian Photographs. Chicago:
University of Chicago Press, 1997.
Rogoff, Irit. Terra Infirma: Geographys Visual Culture. London and New York:
Routledge, 2000.
Said, Edward. Orientalism. New York: Vintage Books Edition, 1978.
Schein, Louisa. Mapping Hmong Media in Diasporic Space Media Worlds. Berkeley
and Los Angeles: University of California Press, 2002.
Stewart, Susan. On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the
Collection. Durham and London: Duke University Press, 1993.
Tiley, Kean, Kuchler, Rowlands, and Spyer. Handbook of Material Culture. London:
Sage Publications, 2006.
Tranberg, Karen. Transnational Biographies and Local Meanings: Used Clothing
Practices in Lusaka Journal of Southern African Studies, Vol. 21, No.1 Taylor and
Francis Ltd. Pp. 131-145 http://www.jstor.org/stable/2637335.
Tyson, Lois. Critical Theory Today: A User-Friendly Guide. New York: Routledge, 2006.
US Man Sorry Over Ghandi Auction BBC World News. 27 March 2009
http://news.bbc.co.uk/2/hi/southasia/7967544.stm