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dc.contributor.advisorJervis, Ian
dc.contributor.advisorCullen, Paul
dc.contributor.advisorRedmond, Monique
dc.contributor.authorPearce, Lance
dc.date.accessioned2012-11-25T20:23:22Z
dc.date.available2012-11-25T20:23:22Z
dc.date.copyright2012
dc.date.created2012
dc.date.issued2012-11-26
dc.identifier.urihttp://hdl.handle.net/10292/4756
dc.description.abstractMy practice-based art project explores a variety of constructional approaches specifically directed toward sculptural outcomes; the repurposing of commonplace objects to produce sculptural composites. This project speculates on the role of asignification in a sculptural object as both a deferral of representation and an enabler of human potential. Asignification, as an elision of the standardising and constraining space of representation, provides a key to rethinking the conditions of potentiality immanent to the spectator/sculpture encounter. The spectator’s encounter with an asignifying sculpture exists on the cusp between a leap into the virtual and more familiar spatiotemporal vectors. And if taken, this leap allows the spectator – as in a dream – to move freely within a boundless experience of time and memory.en_NZ
dc.language.isoenen_NZ
dc.publisherAuckland University of Technology
dc.subjectSculptural compositesen_NZ
dc.subjectCommonplace objectsen_NZ
dc.subjectAsignificationen_NZ
dc.subjectRepresentationen_NZ
dc.subjectPotentialen_NZ
dc.titleEverything moves so swiftly: sculptural moments in the life of objectsen_NZ
dc.typeThesis
thesis.degree.grantorAuckland University of Technology
thesis.degree.levelMasters Theses
thesis.degree.nameMaster of Art and Designen_NZ
thesis.degree.discipline
dc.rights.accessrightsOpenAccess
dc.date.updated2012-11-23T07:26:34Z


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