IB Visual Arts Curatorial Rationale (for Exhibition that got 7 with 29/30 marks)
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Course
IB Visual Arts
Institution
This was my curatorial rationale for my Visual Arts Exhibition that was one mark away from getting a PERFECT SCORE. I rewrote this curatorial rationale a couple times, and wanted to make sure it got as many marks as it could (although there aren't many available).
Although it is not as significa...
The brain can form a pseudo-infinite number of neural connections. But
bodies, housing inner worlds which are upbeat one moment and drowsy
the next, rely on homeostasis. The separation of body from mind is a
17th century idea, anatomical systems are in fact all entangled. Then how
can a body experiencing emotional turbulence inside, appear static on
the outside?
In my work, I reimagine bodies as distillers of emotion: malleable
anatomies that contort, crack, and even burn with the emotions they
experience. I build worlds in which flesh, otherwise constrained by a
skeleton, is the canvas itself.
Using 2D media in self-portrait of a boy on fire and bent over backwards, I was
inspired by Freud’s blocks of color so intricately arranged as to appear
gradient-like and Robusti’s expressionist facial distortions. Drawn to
electromagnetic color spectrums, I assigned to segments of the
epidermis hues rather than tonal values: I yearned to show a rippling of
light using saturated colors, as explained in a color-theory workshop
gave me a vision of colors as relative to each other rather than
independent.
Developing warrior 1, I wanted to use kintsugi on bodies: reimagining
pregnancy marks as increasing a body’s value like porcelain mended with
gold. I researched into Japanese mysticism in which cracks in celadon
cups, gripping tea leaves, are viewed as enriching life experiences. This
inspired the warrior series which centers around the motifs of gold and
cracks, where I disfigured forms created by the same mold in three
different ways to represent modes of body-shaming. I found ways to
repair these disfigurements with gold, symbolizing reclamation.
Expressing fleshiness via a firm medium was challenging. But clay was
the ideal medium to show emotional release, as its delicacy revealed
every touch.
I suspended the warrior series with nylon threads to make their insides
visible and emphasize their hollowness without them touching a stand,
which would spoil the sense of negative space. I placed them as if they
were three musketeers.
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