Applying Philosophy of Art in a Global World
Edited By Zoltan Somhegyi and Max Ryynänen
10 Studio Practice as Aesthetic Experience (Izmer Bin Ahmad)
Izmer Bin Ahmad
AbstractThis chapter explores the dynamics of the practice of making art as a form aesthetic experience. It is conceived under the rubric of practice-based research or also known as artistic research where the cognitive component of artistic practice operates under the term aesthetically-based research in which artistic skills and sensibilities are cultivated through dialogical processes that occur during aesthetic encounters that occur between the artist and her materials. The experiential intimacy of the artist’s ‘dialogue’ with materials during the solitude of making is interpreted in this paper as a subject-object dialectic. For instance, Robert Motherwell refers to a picture as a “collaboration between artist and the canvas,” or Francis Bacon’s and Helen Frakenthaler’s allusion to the agency of paint and canvas that navigates the artist’s decision during the moment of making. The bio-artist Nur Amira Hanafi elucidates this phenomenon literally when she collaborates with the will of microbes as the co-author of her work. In all cases, the practice of art is presented as the artists subjecting their bodily responses to the fluid unpredictability of the material he or she is working with. This paper looks at this bodily engagement as manifestation of synesthesia where varying levels of sensory perceptions inaugurated by the art material as intentional object that makes experience possible and in doing so facilitate the cognitive process for the artist. The creative process in this sense is posited as the affective aspect of aesthetic experience characterized by a collaboration of the artist’s...
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