This is an abstract from a masters exigesis by Sue Jackson.
Exploring the Interface negotiates the boundaries between the often‐disparate practices of art and
craft. The interface, as the point of interplay between these practices, is offered as a metaphor for
the negotiation of the physical and psychical boundaries of self. This project asks how these
practices can be navigated and if the interface can signify the spaces of one’s emotional and
corporeal identities. It also questions how the maternal relationship and feminine and domestic
archetypes contribute to the construction of gender.
The project aims to extend the traditional use of domestic craft while honouring the semiotic
potential of its feminine associations. I endeavour to create an expressive device from mute craft
materials and techniques using the language of the object and the poetics of metaphor. I seek to
evoke memory and the senses by activating the gallery space in a series of narrative dramas that
play out inside domestic constructs.
My artwork takes the form of a series of installations using various materials ranging from those
traditionally associated with domestic craft to more ephemeral organic matter. Handcrafted
objects reside with ready‐mades while garments and domestic artefacts nestle amongst furniture.
The project commenced with an investigation of various hierarchies pertaining to gender and
practice. An exploration of traditional craft materials and techniques led to innovative
approaches and a consideration of the maternal legacies of the craft tradition. The amassing of
craft materials and objects suggested a wealth of memories, histories and untold narratives. The
expressive potential of the craft object was explored and what emerged was the performative
function of the artwork as a means of activating senses, memory and space.
Artists who extend craft beyond traditional application, including Judy Chicago, Fiona Hall,
Freddie Robins, Anne Farren and Dave Cole, have influenced experimentation with the expressive
potential of materials and techniques. The maternal relationship is explored through the work of
Barbara Hanrahan, Lindsay Obermeyer and Kay Lawrence. Artworks by Anne Wilson, Jana
Sterbak and Magdelena Abakanowicz inform body‐specific work that focuses on corporeal
elements of gender. Mnemonic artworks by Louise Bourgeois, Tracey Emin, Magdalena Bors and
Doris Salcedo provide a reference for memory, narrative and domestic based installations.
Exploring the Interface focuses on negotiating various boundaries as a metaphor for the
construction and deconstruction of ideas of self. The work takes up a symbolic position swaying
between the physical and psychical spaces of subjectivity. Inner and outer domains manifest in
narrative constructs that inspire and are inspired by memory and lived experience.
Jackson SM 2011, ‘Exploring the Interface: Negotiating the Boundaries between Art and Craft’, MFA, University of Tasmania, Hobart, viewed 28 September 2020, <https://eprints.utas.edu.au/12477/1/Jackson.pdf> pviii
I have been looking for a website or recent work by Sue Jackson and couldn’t find anything much to follow this up with.
This publication explores the parallel between the interface of art and craft and the interface of physical and psychic. It’s not really what I was after but I am really looking for some idea about the question I can pose for my honours and also other artists that may be working in the area of quilts as fine art. I’ll probably look up some of the crafty artists she mentions 🙂