Massey Documents by Type

Permanent URI for this communityhttps://mro.massey.ac.nz/handle/10179/294

Browse

Subject: search.filters.subject.Art installations

Search Results

Now showing 1 - 10 of 17
  • Thumbnail Image
    Item
    Any order is appropriate : it's all in equal measure : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2014) Dowling, Deanna
    Any order is appropriate; it’s all in equal measure. Multiple entry points, separating out the parts. Even by listing them I feel uncomfortable. This research enquiry takes the form of a number of different investigations over a period of two years, and within the scaffolding project there are a number of simultaneous explorations that have happened at once. It is for this reason that I have offered a document that aims to oppose a chronological order. This structure reflects how I consider each component in a project that contains objects, sites, place, people, and institutions. What has become apparent to me in this process is that the relationship between all these factors is more complex than I thought and warrants avoiding, or producing, a hierarchy. The task of translating a collection of art works from their separate periods of production has encouraged new outcomes in my own research and concerns that form around a system of interrelationships – raising questions such as what it means to be under construction or deconstruction, to be something in translation, in progress, in development? These thoughts have evolved from terms used to discuss thematic concerns in a number of my works and shift at times to a more abstract use of the words, notes and lists. I have made objects about construction in a city currently undergoing heavy urban modification.
  • Thumbnail Image
    Item
    Liquid contemporeality : cybernetic waves emerging from the currents of time : exegesis submitted in partial fulfillment of the requirements for a Master of Fine Arts (MFA) degree at Massey University, Wellington, New Zealand
    (Massey University, 2014) Mick, Mica Hubertus
    This exegesis outlines the metanarrative that builds the conceptual background relevant for my artistic practice. It is centered towards some of the relevant issues and the impact that the digital mediascape has on current human culture. Furthermore I discuss the multiple artistic histories and influences framing my research practice in the field of new media art and moving image work. In addition I analyze the processes and experiments leading towards the decisions about my final work. The audiovisual installation Forces installed in ‘The Pit’ is a poetic interpretation of the multiple dynamic energies impacting on the flow and upheavals of the current technological transformation: cybernetic waves emerging from the currents of time.
  • Thumbnail Image
    Item
    Walk with me : a performative investigation, researching contested memories at New Zealand's national site for remembrance, Puke Ahu : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2014) Kilford, Angela
    Walk With Me is a performance art project that was born from an interest in memory and memorialisation. The guided tour series initiates an investigation of site that illustrates the power of the New Zealand Government to influence our national identity through the fuelling of dominant myths at the new National Memorial Park (Puke Ahu). The project has revealed the ongoing effects of colonialism and offers participants an alternative to the memory formed by the focus on New Zealand’s involvement in overseas wars. The Government’s spending on commemoration of the First World War and specifically the centenary of the Gallipoli landings of 25th April 1915, overshadows Maori remembrance stories of colonial conflicts, which are discreetly articulated at Puke Ahu. The project’s focus narrows from encounters with people at the site to concentrate on what is there, who is represented and what is performed there. This is a memory work that is bound to the site by the ritual act of walking and investigates the plural memories of the landscape.
  • Thumbnail Image
    Item
    Filmic space : reverie and matter : a thesis presented in partial fulfilment of the requirements of the degree of Master in Design at Massey University
    (Massey University, 2005) Wang, Ying
    Filmic Space: Reverie and Matter is an exploration of how to provoke emotive qualities into interior space through filmic and digital techniques. It proposes that emotions can be evoked spatially into the interior realm. This research, which has been worked through a design process, consists of three spatial sites. The space of a film is analysed through details and views of the film, which provoke the emotions of its audience. The space of a place (a gallery) is analysed to explore how we can rethink the privacy of imagination and the temporal nature of emotions in a physical condition. The space of digital virtuality is studied for its ability to reproduce a material, water, into an immaterial form as a digital design work. These studies establish the fourth site, the space of an installation, where a film, a place and an element, water, merge in a full-bodied experience. The final exploration, the space of text, documents and reflects upon the whole research project. The emotive qualities of Filmic Space: Reverie and Matter interweave in the form of creative writing, which expresses personal feelings and emotions about a film, a place and the process of designing. Each site privileges the subjective over the objective. And like emotions provoked by bodies of water, the real can only be felt.
  • Thumbnail Image
    Item
    I am not awake but I cannot sleep : [a thesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts, Massey University
    (Massey University, 2003) Bolland, Toni
    Last year my father became very ill. After having a number of strokes, his mental and physical capacity became diminished to the extent that he was no longer able to communicate or move about, and he was hospitalised. On the 8th of May this year he died. My father's inability to communicate had a profound effect on me. It was almost as though communication meant life and I grieved then as if he had died already. When he did die eight months later, I had already begun to use my work to investigate concepts of in-between-ness and paradox. In the personal sense, my father was representative of a known and quantifiable reality - a reference point from which I had developed understandings and meanings about my identity and place in the world. His illness turned my certainties into uncertainties. Trying to find a point of reference in the midst of such an experience was difficult. Relative spaces tended to shift. I likened it to trying to focus my eyes on a blurred image, or listening to tuneless sound and straining to hear a familiar melody. This experience strongly sharpened my conceptual skills. Dealing with ephemera and uncertainty pushed me to find a focus (locus?) and alongside was an opportunity to really explore materiality and process. In November I presented what I knew was good work but was unable to write about it coherently or articulate it clearly, and I was confused about the issues that had surfaced.
  • Thumbnail Image
    Item
    Orthogonal orthodoxy : exegesis presented for PhD
    (Massey University, 2014) Trevelyan, Peter
    In this investigation, drawing and sculpture will occupy (highly mobile and permeable) positions as respectively; ideal, abstract, perfect system in two dimensions, and actual, tenuous, compromised and contingent reality in three. The systems explored here will have their basis in the diagram, a mathematical system for the delineation, quantification and occupation of physical space. The translation of this system into the compromised, imperfect real world will be the main strategy used to investigate these drawing technologies, a three dimensional investigation of two dimensional methods and media. How can a sculptural practice, utilising drawing media as material and geometric formalism as methodology, undertake an investigation of systems (specifically abstract spatial systems, but with wider ramifications too), manipulating those systems so that the audience may experience a bodily affect of dread at the prospect of imminent collapse? I aim to confront the viewer with static object that are felt, understood immediately, viscerally, as being in a process that will systematically lead to its own decay, it is untenable. The research will demonstrate new knowledge in the discipline of sculpture, specifically the effect of gravity as an activating force, producing kineticism in static objects and the affect gravity can induce in the audience when adroitly manipulated as a physical sculptural force.
  • Thumbnail Image
    Item
    Banging two stones together : using geometric abstraction to depict animal rights : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2014) Brown, David H.
    This exegesis presents research into establishing an abstract geometric framework for which to use for the depiction of animal rights. This framework stems from contemporary animal rights discussions in association with case studies situated around animal disease and the impact that animals have on the environment. This material is used to form an ethical and philosophical position. This position is built upon through review of the; the NZ Animal Welfare Act 1999, contemporary animal rights artists, as well as conceptually focused contemporary abstract artists. The output of this research is a series of two-dimensional and three-dimensional works, which are formally realised and animal rights driven.
  • Thumbnail Image
    Item
  • Thumbnail Image
    Item
    For the love of money : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2013) Millers, Jhana
    This thesis is an investigation into the place of art in a world dominated by money and the role art plays in affecting change. By adopting interventionist strategies and adhering to the subtlety of the small gesture it highlights the irrational way value is constructed in our global capitalist society. The thesis places particular emphasis on participatory and interactive modes of practice as tools for critique in the pursuit of alternative systems of power, control and agency. How we might shift the way we operate within the difficult framework of a market-driven public discourse is a question to which it repeatedly returns.
  • Thumbnail Image
    Item
    To the uttermost end : the photographic amalgamation of history, imagination, science and exploration in the seascape : an exegesis presented in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2013) Kay, Jonathan
    This exegesis is essentially a quest to discover a place that still remains in the realm of the unknown; where imagination and science, history and memory, reality and artifice are all architects of space. Framing this investigation in the locality of the sea, this research explores mythological, scientific and imaginative agents that allow access to concepts of the intangible and unseen. Through photography, To the Uttermost End explores the dichotomy between objectivity and artifice, touching on notions of the technological sublime.