Monday, May 2, 2016

RAW-(Material) - HOME PAGE


Self as Living Art

a journal of art, life, materials,
performance & process
Claire Elizabeth Barratt

Welcome to the RAW-(Material) series.
This is MY Material Culture!

My approach is holistic, essential, integral, metamorphic.
I work in relationship and response to material.
The raw materials of the Self (body & psyche) and the raw materials of nature and the environment.

I use the Self to go beyond the self. To Transform.
I address the raw materials of Self, as well as the raw materials of nature, as mediums with which to create.

This project is part 2 of my investigation as an MFA candidate with the Transart Institute:

The Process and Praxis of Constructing the Self as Medium

My first year project was to develop a practical pedagogy for performance art. Through a series of synergetic workshops I developed a pedagogical method to serve as an unbiased substructure for individual exploration, discovery and invention.

The project was entitled:

And the resulting method I call “Living Art”.

My second year project has been to prove this pedagogy by becoming my own student and inhabiting its methodology, using it as a catalyst for transformation. The transformation of Self in performance, the transformation of Self in relationship and the transformation of Self in learning.

My process takes the form of a journal.

“Life is so rich, if you can write down the real details of the way things were and are, you hardly need anything else” – Natalie Goldberg

A journal employs the idea of a day-to-day journey.
My journal is a chronology reporting the explorations, discoveries, transitions and transformations that occur throughout the journey.

My explorations of Self I call: Body Studies.
My explorations of Self in relationship with nature I call: Nature Specimens.
The response that evolves from these explorations is the art.

These are documented in the forms of text, video, image and sound.
Subsequently, these pieces of media become the art.

I can then take my responses into the studio and develop the gestures of body and voice into choreographic motifs. These motifs become a palette of ingredients for composition. And the composition becomes the art.

This is a working method.

The pages of this journal present a yearlong cycle of the seasons.

With much gratitude to my advisors: Laura Gonzalez and Linda Montano


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