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Fig1: Sian Fan - Garden 3, 2020, Sculpture. UV Print on acrylic.
80 x 60 x 20 cm. Gallery view.
80 x 60 x 20 cm. Gallery view.
The learning event focused on the interplay between digital and physical media, exploring their roles in enhancing, replacing, or reflecting reality. Central themes included the accessibility and democratisation
of digital creation, and how digital media reframes our understanding of the physical. Flowers emerged as metaphors for spirituality, portals, and intersection of cosmic and earthly energies, embodying transitional moment between worlds.
This aligns closely with my research on the intersection of identities and worlds, particularly through Kalocsa embroidery as a medium. The event’s exploration of digital as both a mirror and an enhancer resonated with my investigation of how digital tools augments traditional craft, preserving cultural authenticity while embedding it in contemporary practices. Flowers, as a motif, connect deeply with Kalocsa embroidery’s floral patterns, which symbolise cultural heritage and a specific group identity.
Reimagining these motifs through digital embroidery or 3D modelling could echo the idea of transitional spaces – where identities coexist in flux.
The event also addressed political dimensions of digital access, paralleling my inquiry into the legitimacy of constructs like nation-states. The digital realm, much like diasporic identities, exists in a liminal, boundary-crossing state that questions physical borders and hegemonies. This duality – normality versus magic, physical versus digital – offers a fertile ground for exploring migration and intersectional identity within a ‘wonderland’ where worlds collide. My work aims to navigate this dreamlike state, weaving Kalocsa heritage into a broader narrative of shared human fragility and transformation.
of digital creation, and how digital media reframes our understanding of the physical. Flowers emerged as metaphors for spirituality, portals, and intersection of cosmic and earthly energies, embodying transitional moment between worlds.
This aligns closely with my research on the intersection of identities and worlds, particularly through Kalocsa embroidery as a medium. The event’s exploration of digital as both a mirror and an enhancer resonated with my investigation of how digital tools augments traditional craft, preserving cultural authenticity while embedding it in contemporary practices. Flowers, as a motif, connect deeply with Kalocsa embroidery’s floral patterns, which symbolise cultural heritage and a specific group identity.
Reimagining these motifs through digital embroidery or 3D modelling could echo the idea of transitional spaces – where identities coexist in flux.
The event also addressed political dimensions of digital access, paralleling my inquiry into the legitimacy of constructs like nation-states. The digital realm, much like diasporic identities, exists in a liminal, boundary-crossing state that questions physical borders and hegemonies. This duality – normality versus magic, physical versus digital – offers a fertile ground for exploring migration and intersectional identity within a ‘wonderland’ where worlds collide. My work aims to navigate this dreamlike state, weaving Kalocsa heritage into a broader narrative of shared human fragility and transformation.
The learning event explored the transformative potential of visual arts to communicate beyond spoken or written language, emphasising the interplay between space, materials, and narratives. The artists demonstrated how discarded and personal items – such as remnants of their sister’s wedding dress, which were cut away during the process of personalising it for the bride – can be reimagined into artworks that transcend conventional boundaries to challenge notions of meaning, value and care. By collecting and
repurposing remnants, they navigated themes of conservation, maintenance, responsibility, and gentrification, raising critical questions about what is preserved, adjusted or discarded during the process of alteration and creation.
This aligns closely with my research, where I examine discarded materials such as single-use electric vapes and tea filters to uncover hidden meanings, memories, histories and transient properties of these ‘objects’. The wedding dress example particularly resonated with my approach of interrogating the duality between personal significance and generic utility. Both practices investigate the delicate balance between sturdiness and fragility – qualities intrinsic to the materials I study and their symbolic meanings.
The artist’s focus on conservation as a process of choice – determining what or who is prioritised – parallels my inquiry into the spiritual and temporal dimensions of discarded objects. This invites deeper reflection on how these items, much like humans, are granted new purposes and narratives. The use of remnants to create artworks further underscores the potential of overlooked materials to embody stories of transformation and renewal. Through these intersections, the event reaffirms that materials are more than their originally intended use – they are repositories of memory and meaning, waiting to be rediscovered
and recontextualised.
repurposing remnants, they navigated themes of conservation, maintenance, responsibility, and gentrification, raising critical questions about what is preserved, adjusted or discarded during the process of alteration and creation.
This aligns closely with my research, where I examine discarded materials such as single-use electric vapes and tea filters to uncover hidden meanings, memories, histories and transient properties of these ‘objects’. The wedding dress example particularly resonated with my approach of interrogating the duality between personal significance and generic utility. Both practices investigate the delicate balance between sturdiness and fragility – qualities intrinsic to the materials I study and their symbolic meanings.
The artist’s focus on conservation as a process of choice – determining what or who is prioritised – parallels my inquiry into the spiritual and temporal dimensions of discarded objects. This invites deeper reflection on how these items, much like humans, are granted new purposes and narratives. The use of remnants to create artworks further underscores the potential of overlooked materials to embody stories of transformation and renewal. Through these intersections, the event reaffirms that materials are more than their originally intended use – they are repositories of memory and meaning, waiting to be rediscovered
and recontextualised.
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Fig2: Stuart Middleton - Untitled, 2023, Sculpture. Bridal remnants, stones. Dimensions variable. Carlos/Ishikawa Gallery. Installation view.
03 — Emily Woolley: Personal Vernacular
MA Fine Art Sculpture Seminar
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Fig3: Jasleen Kaur - Journey back in time, 2022, Mixed-media installation. Photo by Paul Watt.
The session explored the vernacular – how imagery, atmosphere and textures of daily life inform and enrich contemporary practices. It emphasised the unique potential of sculpture, with its tactile materiality and multidimensionality, to expand our understanding of shared meanings in ways that differ from photography or painting. The discussion included works by various contemporary practitioners who engage with their personal vernacular, whether within the gallery setting of through public sculpture. The session also examined the interconnectedness of personal, political and socio-cultural contexts, encouraging participants to reflects on how their personal experiences shape their creative influences.
I was particularly drawn to Kaur’s work (Fig3), which interrogates identity and political belonging through inherited imagery. Their exploration of how the presence or absence of these image shape identity – and challenges establishes narratives – resonated deeply with my research. Their focus on the intersection of familial intimacy with state structures mirrors my own interest in how broader forces shape our relationships with our environments we inhabit. In my practice, I draw upon my personal experiences as an Eastern-European immigrant. By examining our indigenous and global traditions, I seek to address issues of cultural synchronisation and unification. My work often monumentalises overlooked narratives and explores concepts of memory and belonging, using family photo albums and domestic objects tied to my childhood. These elements align with the session’s emphasis on personal vernacular and its role in shaping my artistic practice.
This event has deepened my understanding of how material narratives and tactile processes like textile work, pottery etc. can intersects with sculpture to transpose the wonders of everyday life into the gallery. It has also reinforced the importance of exploring how personal, political and socio-cultural dimensions intertwine, shaping both out practices and the shapes spaces in which they exist.
I was particularly drawn to Kaur’s work (Fig3), which interrogates identity and political belonging through inherited imagery. Their exploration of how the presence or absence of these image shape identity – and challenges establishes narratives – resonated deeply with my research. Their focus on the intersection of familial intimacy with state structures mirrors my own interest in how broader forces shape our relationships with our environments we inhabit. In my practice, I draw upon my personal experiences as an Eastern-European immigrant. By examining our indigenous and global traditions, I seek to address issues of cultural synchronisation and unification. My work often monumentalises overlooked narratives and explores concepts of memory and belonging, using family photo albums and domestic objects tied to my childhood. These elements align with the session’s emphasis on personal vernacular and its role in shaping my artistic practice.
This event has deepened my understanding of how material narratives and tactile processes like textile work, pottery etc. can intersects with sculpture to transpose the wonders of everyday life into the gallery. It has also reinforced the importance of exploring how personal, political and socio-cultural dimensions intertwine, shaping both out practices and the shapes spaces in which they exist.
The learning event involved visiting the Emajendat exhibition at Serpentine South, as a part of a series on disseminating primary research workshops. The exhibition transformed the gallery into an immersive ‘Funk Garden’, celebrating South Central’s vibrant visual culture and the improvisational backyard traditions that thrive despite urban challenges. Participants were encouraged to document their experiences, focusing on scale, framing, composition etc. What stood out to me was the exhibition’s vernacular language of materials, objects and colours, creating an enthralling atmosphere that evoked a sense of transcendental sublime and cultural richness. Emajendat presented the lived realities of South Central’s community often overlooked in mainstream narratives, while showcasing resilience and creativity. The artist’s navigation of space and materiality emphasised that this community is far more than the struggles imposed upon them.
For me, the exhibition embodies a timeless spirituality, expressing fragility, community and a conceptual sublime through its dynamic navigation of visual elements. It conveyed the elemental power of nature while narrating the social lives of the community. This aligns with my exploration of personal vernacular and my aim to address issues of racial stereotyping and xenophobia. Additionally, Emajendat echoes my interest in Stuart Hall’s writings on taking popular culture seriously and acknowledging the transformative potential of everyday life. The exhibition bridges, to me at least, the personal-political and socio-cultural dimensions, furthering my understanding on how art can or should create shares spaces that challenge divisions and foster unity within our interconnected world.
For me, the exhibition embodies a timeless spirituality, expressing fragility, community and a conceptual sublime through its dynamic navigation of visual elements. It conveyed the elemental power of nature while narrating the social lives of the community. This aligns with my exploration of personal vernacular and my aim to address issues of racial stereotyping and xenophobia. Additionally, Emajendat echoes my interest in Stuart Hall’s writings on taking popular culture seriously and acknowledging the transformative potential of everyday life. The exhibition bridges, to me at least, the personal-political and socio-cultural dimensions, furthering my understanding on how art can or should create shares spaces that challenge divisions and foster unity within our interconnected world.
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Fig4: Lauren Halsey - Emajendat, 2024. Serpentine South Gallery, London. Installation view.