TRAVELLING MUSE

Kick country, side oneKick country 1 and 2Kick country, side oneKick country 2, side 1Kick country 2, side 1, close up of mining relic. Kick country 1Kick country 1, side 2Kick country1 and 2, side 2Kick country 2, side 2Kick country 2, side 2Kick country 2, side 2Kick country 1 and 2Kick country 1 and 2Kick country 1 and 2

A phenomenological perspective.

A theory is its individual choice as to the style of tourism. However, I will explore the theme from a purely phenomenological perspective. Therefore these works express a methodology of slow movement through place approach. However, there are modernizing features. A modernizing feature places limits on slow movement. Therefore countering the primordial sense of the phenomenological.

Object artworks between objects.

So a suspension of the artworks resemblances this form of destination tourism. A correlation between seeker in a locale is mediated through the phenomenology of air travel. Hurtling through the air is akin to a form of magic that has a resemblance to flying shamanic practices of the Amazon. 

Multiple layers of resin and paint.

Slide 6 depicts the form of phenomenological travel through layering of images. This in a sense resembles layering of our human position whilst in flight as a supervening object. The human as object could only exist in relation to the technological structure. This in turn is taken for granted as a form of identity politics. The kind of person situated in modernity. Hence the playful depiction of the battery stamp of classic mining as having a human character.