Herz/Stein and Drei Nuesse as handling collections?

In the process of pulling together my different works for BoW 4 I am trying to explore scale and reach within the work, notably what role touch and tactility can have for this body of work (principally, but also practically under contact restrictions and all digital submissions).

Coming up to March 2020 I explored a series of objects, notably: stones, stones with seaweed, stones bound with yarn and elastic as tactile objects, the objects leading out of a the idea of Herz/Stein, heart/stone, a heart emoji placed in online conversations, the idea of it closing down, marking both territory and belonging.

This exploration continued at a distance and in tactility: a series of workshops over spring and summer had me exploring the stone, yarn, elastic combination as well as the relationship dynamic that sparked the initial enquiry and how some of this had been also moving through the staircase site before lockdown.

When I moved to Germany I almost packed the stones and yarn, I almost had it sent in three parcels. Then I didn’t. Now I realise I can use other yarn and other stones to continue if there is more to continue.

The work around the walnut tree and the opened shells mirrored the objecthood, if not at all the relational charge, and I set up Drei Nuesse as a similar close-range, intimate process of exploration of materiality that can be held, handled.

The concept or desire for the work always found expression as a handling collection, a term a fellow student introduced me too a couple of years ago with her work (and the binding, rope, yarn also found an early spark in her work).

How does a handling collection work at a distance? Also: to what extent is a handling collection an over-determined concept residing in museum practices (something my work isn’t interested in)?

This post is a summary post to help me articulate these ideas a little further in anticipation of a conversation with said fellow student to explore a little further what resolution for these near-range, tactile works of mine may exist.

Some of my questions at this moment are then:

What is in the handling collection as term? 

  • too determined by museum practices?
  • what happens in digital context for this?
  • can I invite to diy and then everyone has something to handle?
  • handling and/or touching (the former designates a subject/object relationship, the latter more equal, undefined)
  • sketchbook as handling item?
  • unique objects/ easy multiples

Role of screen/stage for the tactile objects?

  • Questions of scale
  • Figure/ground
  • Peripheral vision and centre stage
  • Satellite objects of work
  • Possibility of a wallpaper as a different concept from screen, stage, constellation

Distance/proximity as enquiry: handle/ touch at a distance?

  • Where does tactility move in a pandemic?
  • Digital touch and haptics
  • Sound as intimacy

This post is accompanied by the previous one where I collate the experiments around both series, both posts to serve as basis for a series of discussions

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