Ooooh #15 & #16

Robinson, TM

Ooooh #15 & #16

Robinson, TM

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Publication Type:: Exhibition
Citation:: SCULPTURE FROM THE COLLECTION, 2016
Issue Date:: 2016-07-19

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Field	Value	Language
dc.contributor.author	Robinson, TM https://orcid.org/0000-0002-0209-4771	en_US
dc.date	2015-05-19	en_US
dc.date.issued	2016-07-19	en_US
dc.identifier.citation	SCULPTURE FROM THE COLLECTION, 2016	en_US
dc.identifier.uri	http://hdl.handle.net/10453/42233
dc.description.abstract	2 Sculptures	en_US
dc.format	Medium: Hydrocal, polyester filler, paint and SLS print. Ipswich Art Gallery Collection, 2014.	en_US
dc.relation.ispartof	SCULPTURE FROM THE COLLECTION	en_US
dc.title	Ooooh #15 & #16	en_US
dc.type	Exhibition
utslib.location	Ipswich City Art Gallery	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	open_access
pubs.consider-herdc	false	en_US
pubs.finish-date	2016-07-19	en_US
pubs.place-of-publication	Ipswich City Art Gallery	en_US
pubs.start-date	2015-05-19	en_US
pubs.rights-statement	These sculptures can be situated within an emergent field of cross-disciplinary practice between art and design that employs technical and conceptual strategies. More specifically, it can be located alongside design strategies that have arisen in the last decade within the contemporary craft and design that combine conceptual thinking, craft and design and whose processes arise from material based, technical concerns of craft for imaging new possibilities for the designed object. The focus of the project is to isolate and examine particular properties associated with material thinking and embodied engagement. The project takes a phenomenological rather than representational view of the designed object as something that is the subject of potential embodied interaction. Specific design strategies of ambiguation and provocation are utilised to bring into focus particular ways of engaging with and experiencing the art-design object. These strategies draw upon precedents in ‘Critical Design’ first proposed by Anthony Dunne and Fiona Raby (2005) and work by Gaver et, al (2004) on the value of uncertainty in the use and Design probes. This particular work focussed on the exploration of oppositional elements – in this instance a each work responds to gravity in a different manner, further enhanced by the contrast in colour. The works was selected to be shown as a part of a curated show titled From the Collection at Ipswich Art Gallery, Queensland, alongside, leading Australian artist including Hany Armanious, Michael Doolan and Quentin Purdie. The works were also acquired by the Ipswich Art Gallery for their permanent collection.	en_US

Abstract:

2 Sculptures

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http://hdl.handle.net/10453/42233