Kim Fiona Shaw
The body of work shown herein and my associated art practice are a response to my interest in the relationship between art and the human experience of motion; in the power of art to arouse empathic responses. The focus on movement emerges out of my own strong response to motion and wanting to make sense of it.
I ask: what kind of representative information is needed to convey movement and evoke it in the viewer?
For a painter, one concern can be how to capture a sense of implied movement in an image that does not literally move. Visual dynamics can allow artist and viewer access to experience a sense of motion through empathy. Physical motion can be evoked through visual art and in turn the experience of motion can be received through empathy.
Empathy can be articulated as the viewer projecting personal experience or feeling into the object of regard. The key to evoking movement is through empathy using elements of visual dynamics. These elements are good representations of visual forces, certain formal criteria, and information containing latent communication related to bodiliness.
My work is about the translation of motion from a physical action to a visual representation. I am compelled to communicate something of bodiliness in artworks that privilege movement so the viewer can be present to the idea of movement in its constant, organic form. I aim to provide an encounter with motion.
The work can be contextualised as a relationship between the traditions of painting which values the aesthetic mark and gesture, and the traditions of Conceptualism which gives emphasis to the performative act of making within a certain set of criteria.
Documentation in the form of video and stills is significant to my process because it is indispensable for verifying the existence of my art. Documentation also provides a life-span to the work because it is temporal. Further, actual movement, recorded or live, is probably more able to evoke movement in the viewer.