7 - component configurations and (re)configurations

‘Component configurations’ is a series of installational scenarios that emerged out of a period of practice based doctoral research entitled ‘Pragmatics of Attachment: Medium (Un)specificity as Material Agency in Contemporary Art’. These staged mises-en-scène provided an opportunity to variously (re)configure elements from my quasi-taxonomy of ‘thingly’ sculptural components within a number of different exhibition and cultural contexts, including the white cube gallery space, a textile specific curatorial agenda, the gallery/museum environment and everyday transitional spaces. Offering the possibility of continual rearrangement, the physical form of the work remains essentially mutable. Meaning similarly remains mutable, generated through the various correspondences that are set in play across the diverse sculptural elements, the different cultural frames and the subject of the experiential encounter. The aim is to materially seduce and prompt a constellation of somatic and semantic resonances which provide both a sense of reassurance and reaffirms subjective stability. However, in resisting conceptual synthesis, at the same time give rise to an affectively indeterminate aesthetic experience that has the potential to destabilise and undermine subjective coherence.

The (re)staging of the various sculptural components within different installational scenarios and exhibition contexts was documented in a 68-page A4 perfect-bound catalogue. This Constellatory Re-staging of Practice Components provided a parallel mode of practice documentation to the concertina style Classificatory Configuration of Practice Components. The aim of these complimentary catalogues is to highlight the productive tension between subjective and material agency and the shifting relationship between the ‘classificatory’ and the ‘constellatory’ - what Neal Leach describes as ‘knowledge-as-quantification’ and ‘knowledge-as-sensuous correspondence’ - that was a key aspect of the research, is embodied within the PhD process itself, and is ontological to the epistemological dimensions of aesthetic experience. (Leach, Camouflage, 2006). See also: ‘Catalogue Components’ section in Research Threads.

https://issuu.com/artanddesignatchester/docs/maxine_bristow_a4_brochurev2

https://issuu.com/artanddesignatchester/docs/maxine_bristow_concertina2


7a - Component configuration 18111 - CH22LB, CASC Contemporary Art Space Chester 14 Feb – 18 Feb 2011.

7b - Component configuration 261111 - E84QN, Five Years Gallery, London, 26 Nov – 11 Dec 2011.

7c - Component configuration 111211 - CH22LB, University of Chester, 12 Dec – 19 Dec 2011.

7d - Component configuration 12712 - IP331BT, Smiths Row Gallery, Bury St Edmunds, 12 July – 1 Sept 2012.

7e - Component configuration 121012 - CH22LB, CASC Contemporary Art Space Chester, 12 Oct – 2 Nov 2012.

7f - Concordance' component configuration 26713 - M156ER, Whitworth Art Gallery, Manchester, 29 July – 1 Sept 2013.

7g - Concordance' component reconfiguration 26713 -M156ER, CASC Contemporary Art Space Chester 23 Sept – 28 Oct 2013.

7i - Component configuration 200914 - CH2 2LB, Studio Space, University of Chester, 01.09.14 - 26.10.14.