15th Sept

OK so today it took far longer than I expected to do things! We did the research task in the library and had been given Es Delvin as our practicioner, light as a material and cutting as a process.  Found it interesting how Matisse made his cut outs when he was quite old and ill with the help of assistants who would move them into place for him. I know that many artists mower days have assistants who do the practical work of putting together work which is a brainchild of the artist, especially big things. I once me Korean artist Choi Jong Hwang and he had many assistants who helped make big colourful sculptures out f every day objects like colanders. It made me realise that artists don't always have to touch their work physically for it to be legitimate, it is the idea that important. Es Delvin must fall Into this category too and employ tons of people to realise her ideas. Perhaps that's also true when doing community engaged work which I am also interested since I am a youth worker.

As my second library I went to SOAS because I have an alumni card and I looked for books on two subjects: crocodile markings in Papua New Guinea, where they cut ridges into the backs of Kaningara men to indicate maturity http://video.nationalgeographic.com/video/newguinea-crocscars-pp, http://larskrutak.com/making-boys-into-men-the-skin-cutting-ritual-of-the-kaningara-tribe-of-papua-new-guinea/, similar techniques are used by Masai and some Nigerian people groups. The Second thing I looked at was shadow puppetry in Java and Bali, this brings the community together at major events like weddings. I think that there has been too much of a separation between western 'art' and non western art that is labelled 'craft' we live in a global era so I think these categories are outdated.

© Elizabeth Kendal, all rights reserved