In What Ways Can I Challenge Established Norms and Perceptions Through My Artworks to Disrupt Complacency and Inspire Transformative Action on a Visceral Level?
Contents
Introduction (431 words)
Chapter I Literature Review (1339 words)
1.1 Challenging Norms and Perceptions Through Art
1.2 Unconventional Materials in Art
1.3 Theories of Aesthetics, Critical Thinking, and Societal Transformation
Chapter II Methodology (663 words)
2.1 Practice-Based Research
2.2 Visual Analysis
2.3 Audience Engagement Studies
Chapter III Testing Arguments. Art Works (1535 words)
Chapter IV Findings and discussion (2192 words)
1. Art as Research
2. Authorship
3. Methods of work
4. Critical Analysis
5. Synaesthetic Expressions
6. Thematic Analysis
7. Studying Viewer Engagement
8. Impact Assessment
9. Collaboration
10. Comments and Critiques of Theoretical Perspective
11. Qualifications and Limitations
Conclusions (334 words)
List of figures
Bibliography and references
Total: 6,494 words
Introduction
Art has long been a medium through which societal norms and perceptions are both reflected and challenged. In the contemporary landscape, particularly in post-conflict environments, art holds the potential to disrupt complacency and inspire transformative action on a visceral level. This essay explores how my artistic practice, rooted in personal trauma and synesthetic expression using unconventional materials, engages with these themes.
The central question guiding this research is: In what ways can I challenge established norms and perceptions through my artworks to disrupt complacency and inspire transformative action on a visceral level? To address this, it is essential to understand how art can provoke deep emotional and physical responses, moving beyond intellectual engagement to impact the viewer's core senses and feelings. In this study, I use the term visceral as something that is deeply felt, instinctual, and connected to the body's most basic, primal responses. These emotions are not merely intellectual or abstract; they are experienced in a way that is immediate and bodily, such as the sensation of a "gut feeling."
By situating this research within the context of post-conflict visual culture, where emotions acquired a central place and transition occurs from non-personal, multicopy, post-Internet art, to super personal, unique and physical art, I would like to emphasize the relevance of personal and collective trauma in shaping societal narratives. My work reflects these sensitive and transformative experiences of life, drawing from my own history and culture. This exploration is framed within the contemporary context of ongoing conflicts and their profound influence on family relationships, the meaning of value, truth, authorship, media manipulation, aesthetics, and digital culture.
Through a detailed examination of my artistic practice and the broader theoretical frameworks that inform it, this essay seeks to illuminate how art can catalyse change. By engaging viewers on a visceral level, my work aspires to disrupt complacency, provoke introspection, and inspire transformative action, ultimately contributing to a more nuanced and empathetic understanding of our shared human experience and stimulating much-needed dialogue with pro-aggression viewers.
In my artistic practice, I aim to evoke pre-cognitive emotional responses and appeal to nature’s innate human concepts of goodness and happiness. My works are not just about visual aesthetics; they are about creating an immersive experience that engages viewers on a sensory level. This approach is particularly relevant in the context of the war, where art can serve as a means of processing trauma, fostering healing or becoming the only way of communication. I seek to connect with viewers on an intuitive level, challenging their perceptions and encouraging them to see the world from a different perspective.
Chapter I Literature Review
To understand the potential of art in challenging norms and perceptions, I must first examine the existing literature on the subject. This review will explore the theoretical foundations and practical applications of art as a tool for societal change, focusing on key concepts such as propaganda, synaesthesia, and the use of unconventional materials.
1.1 Challenging Norms and Perceptions Through Art
"Art and Social Change: A Critical Reader," edited by Will Bradley and Charles Esche, is a comprehensive collection of essays that explores the relationship between art and social change. This anthology examines how artists and their works have challenged societal norms and perceptions, through art protests, public art, subverting commercial and institutional norms, and discussing the identity and interactive and participatory art. Here I can identify several methods of challenging norms and perceptions through art:
a) Provoking Thought and Discussion: For example, Banksy's street art often addresses political and social issues, provoking discussion and raising awareness about important topics such as inequality and environmental degradation.
Figure 1.1 Street art by Banksy in Los Angeles
b) Highlighting Injustice and Inequality: For instance, the photography of Dorothea Lange during the Great Depression captured the hardships faced by migrant workers, challenging perceptions of poverty and prompting action to address social and economic inequality.
Figure 1.2 Dorothea Lange, photography
c) Promoting Empathy and Understanding: For example, Kehinde Wiley's portraits challenge traditional representations of power and identity by depicting people of colour in positions of authority and dignity, promoting inclusivity and diversity.
Figure 1.3 Kehinde Wiley. Equestrian Portrait of Charles I (2007)
d) Subverting Stereotypes and Expectations: For instance, the work of Cindy Sherman subverts stereotypes of femininity by portraying women in a variety of roles and personas, challenging traditional notions of gender and identity.
Figure 1.4 Cindy Sherman - Untitled #362 1954
e) Promoting Social Justice and Activism: For example, the AIDS Memorial Quilt, created in the 1980s to honour and remember those who lost their lives to the AIDS epidemic, raised awareness about the impact of the disease and helped destigmatize HIV/AIDS.
Figure 1.5 Picture of the AIDS quilt in front of the Washington Monument
f) Encouraging Critical Thinking and Reflection: For example, the conceptual art of Marcel Duchamp challenged traditional ideas about art and aesthetics by presenting everyday objects as works of art, prompting viewers to reconsider the definition of art itself.
Figure 1.6 Marcel Duchamp. Bottlerack, 1961
While art has the power to change perceptions, in this study I want to take into account an equally powerful tool that subjugates the minds of millions - propaganda. Propaganda operates through various channels, such as media, advertising, and political discourse, to manipulate perceptions, shape collective identities, and cultural norms with the use of certain techniques. These can include emotional appeal, simplification, repetition, demonization, selective presentation and symbolism. (Welch, Fox. 2012).
But on the contrary, "it does not imply that any propaganda emanating from the media is always effective." (Chomsky, Herman 2011). The authors argue that while propaganda plays a role, it is not the only factor in public opinion and cultural norms. This is where I see potential for my research. I want to use these loopholes, where propaganda methods lose their power, to communicate with the viewer and appeal to the basic values of life. These include individual character, critical thinking, diverse cultural influences, and cultural production and reception complexities.
In addition, I want to challenge my normal research practice and go beyond the established norms of what art can be. Fine dining also seems to me to be part of modern art. I see a connection here through my synesthetic visions. Equally, the colours in my head can appear from a painting or from a dish, which blurs the boundaries between disciplines and provokes experimentation.
Figure 1.7 Gaggan Anand “Lick it Up” staple dish
Food has always been more than mere sustenance; it is a powerful medium for cultural expression and societal change. In recent years, visionary chefs have leveraged the concept of synaesthesia
- Synaesthesia is a neurological phenomenon where one sensory experience triggers another.
to create multisensory dining experiences that challenge perceptions and foster social awareness. Gaggan Anand of the eponymous restaurant in Bangkok harnesses synesthetic experiences to address social themes. His dish "Lick It Up," served directly on the table, compels diners to use their hands and tongues, breaking traditional dining conventions. This provocative approach not only heightens sensory awareness but also symbolizes a break from societal norms, urging patrons to reconsider their views on class, etiquette, and cultural boundaries.
1.2 Unconventional Materials in Art
The use of unconventional materials in art can serve as a powerful means of conveying personal narratives and challenging established norms. Artists like Phyllida Barlow and El Anatsui have demonstrated how materials traditionally considered non-artistic can be transformed into profound artistic statements.
Phyllida Barlow's sculptures, made from materials like plywood, cardboard, and plaster, challenge the conventions of fine art and invite viewers to reconsider their assumptions about what constitutes art. Her industrial and large-scale installations challenge traditional notions of beauty and the role of materials in art. Barlow's work often incorporates found objects and everyday materials, transforming them into anti-monumental sculptures that provoke both awe and introspection.
Figure 1.8 Phyllida Barlow, Dock (install), 2014.
Figure 1.9 El Anatsui, Gravity and Grace, 2010. Collection of the artist, Nsukka, Nigeria.
El Anatsui's work with discarded bottle caps and other found materials similarly challenges perceptions of value and beauty. By repurposing waste materials, Anatsui's art comments on consumerism, waste, and the environment. This approach aligns with the concept of upcycling, which involves transforming waste materials into new, valuable products. In my own work, I employ similar techniques, using found objects and newspapers to create art that challenges established norms and perceptions.
Anselm Kiefer is known for his use of unconventional materials in his artworks, including lead, ash, straw, and concrete. He experiments with these materials, often layering them to create textured surfaces that evoke themes of transformation, decay, and regeneration. Kiefer's artistic process often involves physically engaging with materials and techniques, such as painting, sculpting, and assemblage. He embraces the materiality of his chosen mediums, allowing their inherent qualities to shape the final outcome of the artwork. Kiefer creates artworks that invite viewers to reflect on the past, confront difficult truths, and contemplate the enduring significance of human existence. His works provoke thought, evoke emotion, and inspire contemplation.
Figure 1.10 Anselm Kiefer, The Seven Heavenly Palaces 2004-2015
1.3 Theories of Aesthetics, Critical Thinking, and Societal Transformation
Theoretical frameworks from aesthetics, critical thinking, and societal transformation provide valuable insights into how art can disrupt complacency and inspire change. The theory of affect, as articulated by scholars like Brian Massumi, emphasizes the role of bodily responses and emotions in shaping human experience. Affect theory suggests that art can bypass rational thought and engage viewers on a visceral level, provoking emotional and physical reactions that can lead to new ways of thinking and feeling. Affect is not a specific thing one can point to, but rather a kind of "vibe" (Affect as Surrounding Atmosphere) or background "movie" (Affect as Intensity) or underlying force (Affect as Influence) that shapes our experiences and responses. It's about the immediate, visceral impact of the world on us, before we've had a chance to think about it or put it into words.
Gilles Deleuze's philosophy offers another valuable perspective. Deleuze emphasizes the importance of recognizing difference and embracing diversity, advocating for a more tolerant and inclusive society. His concept of "becoming" suggests that identity and meaning are constantly in flux, shaped by dynamic interactions and processes. This perspective resonates with my commitment to challenging established norms and fostering empathy and understanding.
Theories of aesthetics and critical thinking also play a crucial role in understanding how art can inspire societal transformation. Aesthetics, as explored by thinkers like Theodor Adorno, is not just about beauty but about the sensory experience of art and its capacity to evoke emotions and thoughts. Critical thinking, meanwhile, involves questioning and challenging established ideas and norms. Together, these concepts provide a framework for understanding how art can disrupt complacency and provoke transformative action, particularly in post-conflict environments where societal norms are often in flux.
Carolee Schneemann’s insights on intuition in art, also contribute to this understanding. Schneemann emphasizes the role of intuition in artistic practice, arguing that intuition allows artists to tap into deeper, unconscious layers of experience and knowledge. This aligns with affect theory’s emphasis on the non-rational, sensory dimensions of art and underscores the importance of intuitive, visceral responses in challenging established norms and perceptions.
Figure 1.11 Carolee Schneemann, Ubi Fluxus Ibi Motus, Venezia, 1990
Chapter II Methodology
This section outlines the methods and approaches I use to create and analyse art that disrupts complacency and inspires transformative action. Because from early childhood I felt a little different, perhaps because of my synesthetic visions or perhaps because of my anaemia when my brain did not have enough oxygen and I was a little slow, in any case, these unforgotten feelings of not being accepted or included, made me choose Gilles Deleuze's theory of the "Difference". The choice of this methodology is determined not only by personal history but also by the fact that his ideas clearly illustrate my life approach to artistic practice.
Practice-Based Research:
1 Art as Research: (Work “Untitled (Fairy Tale)” and others) I will treat my artistic practice as a form of research, where the creation and analysis of artworks generate new knowledge and insights. This aligns with Deleuze's emphasis on creativity and becoming. For Deleuze, becoming signifies a continuous process of transformation and change.
2 Authorship: (Work “For My Mom” and others) I will continue to incorporate my narratives, experiences, and reflections as integral parts of my research. This methodology highlights my work's subjective and experiential aspects, emphasizing the personal and affective dimensions of difference. In addition, during the period of post-conflict and post-truth visual culture, critically to understand the authorship and origin of the source in order to establish the truth.
3 Methods of work: (Work “At Home” and “Temporary Life” and others) I will follow Deleuze's ideas about the same and different. The repetition of the same involves repeating identical instances (this correlates with my monotone paper folding work), whereas the repetition of the different involves variations and changes that bring newness and transformation (this is my "intuitive" way of working).
Visual Analysis:
4 Critical Analysis: (Work “At Home” and other) I will conduct a detailed visual analysis of my artworks, examining how they embody multiplicity, transformation, and disruption. With particular attention to the use of colour, texture, form, and composition.
5 Synaesthetic Expressions: (Work “Colour of War” and other) Synaesthesia, the phenomenon of experiencing one sense through another (such as seeing colours when hearing music), plays a significant role in my artistic practice. By incorporating synesthetic elements into my work, I aim to create multi-sensory experiences that engage viewers on multiple levels
6 Thematic Analysis: (Work “Fragmented Perspectives No 1”) I will analyse repetitive themes in my artworks, such as trauma, memory, parent-child relationships, cultural identity and explore how these themes intersect with Deleuze's concept of difference and contribute to challenging established norms. Furthermore, the propaganda realm and manipulation of perception are under the incredible influence of digital progress. Post-digital aesthetics, for instance, challenges the separation between the digital and physical by exploring their interconnections and hybrid forms. Artists and theorists in this field argue that the digital and physical are not separate but intertwined, influencing each other in complex ways. Therefore, rather than viewing physical art as diametrically opposed to digital art, post-digital aesthetics suggests that they can coexist and inform each other. (Vierkant, 2010) I will affect this coexistence and the consequences in which we were because of this.
Audience Engagement Studies:
7 Studying Viewer Engagement: I study viewer engagement through various methods to understand how my artworks disrupt complacency and provoke visceral responses. These include observing viewers' physical and emotional reactions and analysing feedback and comments.
8 Impact Assessment: I will assess the impact of my artworks on disrupting complacency and inspiring transformative action. This can involve measuring changes in attitudes, perceptions, and behaviours among my audience through interviews and observation of audience reactions.
9 Collaboration: I will value the contributions of other participants and create artwork where multiple voices and perspectives can interact and generate new possibilities. I will focus on processes that bring out the unique differences of each of us, rather than forcing conformity to a single vision or goal. This approach is correlated with Deleuze's "Difference-in-itself", which is primary, and the identity is secondary. It exists regardless of any other identical entities.
Chapter III Testing Argument. Artworks
With this exploration through creation, I aim to demonstrate how my artworks challenge established norms and perceptions, stimulate visceral responses, and provoke critical reflection. By engaging with personal trauma, synesthetic expressions, intuition, destruction, rebuilding, digital aesthetics, temporality, collaboration and diversity I aim to create works that resonate deeply with viewers and encourage them to question their assumptions and beliefs.
“Untitled (Fairy Tale)” Key Concepts: Discovery, Personal Narrative, Memories, Past, Trauma, Beauty
Figure 3.1 Marina Wittemann, Untitled (Fairy tale), 2024 Video of the work: https://youtu.be/20YzW28Yhl0
Question: How my art creation can be a discovery?
How I did it: This wall object, made from found objects, wooden debris, newspapers and painted in bright but soft hues, which are associated with kindness, goodness, warmth. The visual wooden composition looks like a puzzle assembled by a child, or a craft made for a school assignment. Additionally, soft and fluffy paper on top of the work provokes associations of air or sky. Overall, this combination of materials, colour, composition and working method can resemble the landscape of a mysterious city.
At what expense: The desire to get rid of my trauma with my parents led me to personal reflection on my past. In addition, I ask myself why, since the start of the war in 2022, I began to use non-standard materials and move away from beautiful colour fields. As a result, I discovered a connection between the materials used and my childhood memories. Long ago, I would find old wooden objects, furniture elements or building materials in my father's workshop and repurpose them into something of my own. This is how every summer of my childhood went. This metamorphosis created a bizarre intervention of unconventional materials into my practice, which illustrates the theory of “difference” in action. It's like a source of endless creativity and innovation.
“For My Mom” Key concepts: Affect, Trauma, Personal narrative, Metalanguage, Destruction
Figure 3.2 Marina Wittemann, For My Mom, 2023 Video of the work: https://youtu.be/TDjNwLDesbk
Question: How to communicate without words? How to break complacency? How to engage the emotions rather than the rational thinking of the viewer?
How I did it: One of my key artworks "For My Mom," a wall assemblage with video projection made from found and building materials, wooden boards, recycled newspapers, metal grid, and cardboard, painted in dark blue-black colours.
At what expense: Since my family doesn't understand me anymore, even though we speak the same language, I employ means of art to create a metalanguage where materials expand concepts beyond simple description. I use my mom's favourite movie and disrupt its normal audio and visual perception. The collision of a film about love, projected against an unfriendly background and the distortion of familiar audio and video narration, provokes an unconscious affect. As you watch, you might feel heart racing, palms sweating, and a sense of tension or excitement building. This physical and emotional response is an example of affect as intensity. It's the immediate and intense feeling that the movie scene in the unconventional setting evokes in you, even before you've had a chance to fully process or interpret it.
“At Home” Key concepts: Intuition, Past, Trauma, History, Memory, Identification, Painting
Figure 3.3 Marina Wittemann, At home, 2023 Video of the work: https://youtu.be/LIvhSSF7zA0
Question: How does the way of working influence norm-challenging? How can I improve and strengthen my working methods?
How I did it: The sculpture "At Home" delves into the concept of domestic space and personal history. Constructed from pieces of discarded furniture, building materials, and waste, this work reflects the intimate connections we have with our living environments. Glowing copper inside creates a mirage of richness and prosperity, while outside there are ruins and devastation.
At what expense: A metaphor is when a symbol of something else is used for a specific thing, such as a mountain of money. In analysing case, "home" is a metaphor for a room in my parents' multi-story building. This play of imagination connects objects with invisible but rich connotations.
The creation process was completely intuitive without preliminary sketches. Step by step, the material told me the further path and my inner state led me to the realization of the sensual. The layered construction of the piece mirrors the complexities of our personal histories.
My detailed work on each of the boards is visible to the viewer through the texture and painting. The moment I apply paint to wood, mix colours and add texture, I experience a feeling of happiness similar to an orgasm. At such moments, when the colour turns out to be correct, a ball of delight and pleasure explodes in the lower abdomen. Transferring such a state to the viewer is, of course, impossible, but it is precisely this canon of perfection - this emotional ball that is my criterion for creating increased tactility of the material.
“Colour of War” Key Concepts: Synesthesia, Color, Trauma, Collective History, Responsibility, Individual and Social
My video, "Colour of War," delves into the synesthetic hues of emotions.
Figure 3.4 Marina Wittemann, Colour of War, video 4´00, 2023 Video of the work: https://youtu.be/VJ_0QBr3mv0
Question: How can I enrich my work with synaesthesia? How to show people what the feeling of colour in the body is due to emotions?
How I did it: From the reds of lockdown to the blackness post-February 24, 2022, it contains the intangible spectrum of feelings. This work contrasts local life with global narratives, using local newspapers and global audio news. The calm is destroyed when Russia attacks Ukrainian cities, marking a turning point in the narrative. I paint my body with black paint and continue meditative, intimate work in my studio against the backdrop of world events. The video concludes with the announcement of a German WWII film winning Oscars - entering into reflection on the interconnected nature of personal and collective histories.
At what expense: I involve the viewer in a slow and long 4 minutes narration of news in different, unfamiliar languages, which makes logical understanding unimportant. Interest arises because political topics, for example, about Trump or important public discussions about the coronavirus or emigrants, hold the viewer’s attention. I alternate videos with my personal life, morning coffee, work in the studio, which introduces the main character, whom you want to follow. This creates an emotional background for a person and his life, which changes dramatically with the outbreak of war. Here, I use this emotional background as a reason for spreading black paint over my body which associated with the grief and horror. Such associations and allegories encourage viewers to provoke visceral reactions, potentially evoking empathy and a deeper understanding of the human cost of conflict and
“Fragmented Perspectives No 1” Key Concepts: Digital Aesthetics, Selective Presentation, Value Meaning, Difference
Figure 3.5 and 3.6 Marina Wittemann, Fragmented Perspectives No 1, 2024, Photo print and Perfectly Imperfect, 2024. Sculpture Video of the work: https://youtu.be/kxw63adAArU
Question: How to build a connection with propaganda through material? How to demonstrate selective presentation?
How I did it: Photographing and enlarging a detail of my wooden sculpture, then positioning it alongside the original piece, creates the parallel to the propaganda method of selective presentation.
At what expense: To fully understand the connection of this work with propaganda, the viewers need to know about my personal connection with these materials and the themes that I explore, otherwise they will simply see only a colourful art object.
Single-detail photography invites exploration of complex textures and shapes that often go unnoticed. This selective presentation opens new possibilities for interpretation, provoking viewers to explore the relationship between the macroscopic and the microscopic, the whole and its individual parts. I want to encourage deeper thinking about scale, materiality, and aesthetics. By juxtaposing the digitally made photograph with the physical sculpture, I invite viewers to consider the dynamic relationship between form and content, representation and abstraction, and the tangible and the intangible.
"Temporary Life" Key Concepts: Temporality, Fragility, Beauty, The Value of Physical Work, Point of View, Difference
Figure 3.7 Marina Wittemann, Temporary installation project “Temporary Life” with right and left side view
Question: How can I physically involve the viewer in my work? How to increase the audience, how to involve those who do not go to museums? How to demonstrate the temporality and fragility of this world and its beauty?
How I did it: This large-scale outdoor wall work, made of newspapers, explores the themes of temporality, constant change, and fragility. Stretching 6 meters by 2.50 meters, the work invites viewers to contemplate the fleeting nature of life and evaluate the significance of human activities. The colours chosen support the surrounding park and building, which making this work Site-Specific.
At what expense: By using newspapers as a medium, I draw attention to the transitory nature of information and using the technique of changing colour depending on the position of the viewer, I show the diversity of perception. The temporality of the work serves as a reminder of the ever-changing nature and discusses the meaning of man's long and physical work on this earth. I created immersive installation that invite viewers to physically interact with the artwork, move from side to side, fostering a more active and dynamic engagement. I positioned my work into a public space, now the audience simply walks past on the street and sees a three-dimensional colour field on the wall of a house. This is a new dimension of urban art. Understanding the material, you can guess how long this work took to create and how quickly it will disappear. This contrast makes my public art anti-monumental, which introduces discomfort and creates misunderstanding among viewers – why would one work for so long when it is short-lived?!
Chapter IV Findings and discussion
By examining next aspects, I can assess the impact of my art and its potential to inspire transformative action.
1 Art as Research. Discoveries (Work “Untitled (Fairy Tale)” and others)
Through my art, I have made profound discoveries about myself. For instance, my synaesthesia, which I realized in 2021 while working on one of my colour-fields paper works, deeply influencing my artistic choices now. Next, exploring my cultural heritage in 2022 revealed the fascist beginnings of my nation, a history that I confront currently through my work. In 2024, I created pieces using wooden debris, materials that evoke my childhood memories of working in my father's workshop. Which makes the connection in the choice of my work materials. Thus, free creativity and its analysis generate new experiences and support transformation and change.
Figure 4.1 Marina Wittemann, Photo of a room with my crafts dated 2001
2 Authorship. Personal Narrative. Imperfection (Work “For My Mom” and others)
Drawing on themes of trauma, memory and identity, I create work that is subjective and imperfect and therefore lacks the gloss and glamour that is so popular in the post-truth world. When creating this work “For My Mom,” I simply thought about her and imagined how she would watch this video on her smartphone. This made me choose the vertical format of a video projection and combine it with my physical work, as something representing a part of me, genuine, overly physical and sensual. Since I understand that the only channel of communication with my parents today is social networks, this was a decisive factor in the choice of tools and methods of presenting and disseminating this work. In addition, the title of the work served as the key to reading and building causal relationships and interpretations of this work.
This approach allows me to identify the uniqueness and originality of my author's work. The use of personal narrative also serves to challenge societal norms, as it foregrounds individual experiences and perspectives that are often marginalized or overlooked. Collective memory doesn't care about someone's mother or child. The story just moves on, but there's a burning pain in my heart. But I am not alone with such feelings, and it is necessary to talk about it in order to get through it.
Overall, by drawing on lived experiences, I create works that are sensually demanding and universally relatable, prompting viewers to reflect on their own experiences and emotions.
3 Method of work. Contrasts (Work “At Home” and “Temporary Life” and others)
My methods of work emphasize deep bodily involvement, contrasting slow, repetitive tasks with dynamic, full-action movements. When folding newspapers, the process is slow and monotone, inviting reflection. Conversely, screwing, sawing, crashing, and breaking sticks and wooden boards involve intense physical engagement.
Figure 4.2 Marina Wittemann, Work in action. Contrasting approaches in monotony and active bodily involvement in the making process. Additional videos: https://youtu.be/6tvFWNnQ1OI and https://youtu.be/0EBtMIcM_Ag
The way I create work is often called «Tyap-lyap» - “sloppy stuff” in my culture. It’s as if I make my sculptures clumsily, carelessly, roughly, hastily, sloppily, but I take these methods to the limit. Thus, at first glance, this unprofessionalism becomes an over-personal manifestation of character. A unique feature of my background. Where personal relationships with the material (person), attention to detail, insight into the essence of the subject (person), help to discover uniqueness through naturalness and unbridledness and build, at the end, something unique.
This duality in my approach, meticulous laying out of sheets of paper in colour-fields and clumsy sculptures, challenges established norms by disrupting viewer's expectation of how art should be made. The contrasting methods embody the unpredictability and rawness are associated with human emotion, encouraging transformative reactions through the physicality and visceral memories.
4 Critical Analysis. Unconventional Materials
Figure 4.3 Marina Wittemann, Selection of materials for work. 1 photo - in a hardware store, 2 photos - remains at a sawmill, 3 - rest at a construction site
Using unconventional materials in art involves several key aspects. Firstly, the artist risks non-recognition and commercial rejection, as galleries often hesitate to show such works. Secondly, these materials carry personal history and narratives, aiding in healing and rebuilding memories. Thirdly, unconventional materials can develop into metaphors and symbolic images, enhancing viewer engagement. Fourthly, these materials offer tactile, visual, and sometimes olfactory or auditory sensations, intensifying emotional responses and deepening immersion. Finally, mixing classical artistic materials and techniques with unusual ones breaks the usual perception and creates new perspectives.
I choose found objects, industrial materials, and everyday items not only die to my personal memories but also for their ability to evoke cultural associations and generate tactile responses. For instance, building materials evoke themes of construction and destruction, reflecting processes of reassembly and restoration. These materials are often associated with labour, industry, and masculinity, yet their transformation through my artistic process challenges these associations and opens new interpretive possibilities. On the opposite, newspapers, introduce themes of constant change, fragility and femininity. The temporary nature of this paper, coupled with their role in disseminating information, comments on the constructed nature of narratives in our media-saturated world.
Together these masculine and feminine materials represent a confrontation between fragility and hardness, aesthetics and ugliness, artistically chosen materials and discarded items. By repurposing them, I challenge traditional notions of value and beauty, inviting viewers to reconsider their assumptions about art and aesthetics, the transient nature of life and the impermanence of the stories we consume.
5 Synaesthetic Expressions. Five Senses.
The detailed processing of materials - painting, peeling, scraping, and scratching, and applying sand, plaster, cement, and other materials to wooden boards, newspapers, and objects - compels viewers to touch my works, engaging their tactile sense.
Additionally, works made from newspapers can evoke olfactory responses; fresh wet newspapers smell hopeful, while old cardboard retains scents from previous packages like perfume or coffee. This adds an olfactory layer to the experience.
Figure 4.4 Marina Wittemann, Studio view. Work in progress
The unusual paper structure absorbs sound, creating a sense of emptiness and calmness for those who listen closely, incorporating auditory perception. By engaging four out of the five senses - auditory, tactile, olfactory, and visual - I bypass rational thought, engaging viewers' emotions and bodily responses to provoke deeper reflections. This interactive, stimulative approach invites viewers to become co-creators of meaning, transforming their role from passive observers to active participants.
6 Thematic Analysis. Propaganda, Trauma, Digital Manipulation… (Work “Fragmented Perspectives No 1”)
Upon first encountering an artwork, viewers primarily engage through their senses. They notice colours, forms, textures, and composition. Almost simultaneously, viewers may experience an emotional or intuitive reaction. This can be a feeling of awe, discomfort, joy, or curiosity, often without fully understanding why. As viewers process their initial reactions, they start to consider the context. Information about the artist, the historical and cultural background, and any provided artist statements or exhibition texts can guide their understanding. At this stage, viewers begin to look for deeper meanings. Viewers start to identify symbolic elements within the artwork. This could include specific objects, colours, forms, or arrangements that suggest metaphorical or allegorical meanings. For example, a photography might symbolize digital technology. Engaging in critical thinking, viewers analyse how these symbols interact and what they might represent. They consider possible metaphors and allegories, questioning how different elements of the artwork relate to broader themes such as politics, society, or personal experience. At this point, viewers start to construct an allegorical reading of the artwork. They might interpret the entire piece as a representation of a larger concept or narrative. For example, a series of my wooden sculptures - reconstructed objects might be seen as an allegory for trauma and healing. Personal experiences and beliefs heavily influence this interpretive process. Viewers draw connections between the artwork and their own lives, deepening their engagement and understanding. Additionally, discussing the artwork with others can reveal new allegorical and metaphorical insights. Sharing interpretations can help viewers refine their understanding and appreciate different perspectives.
These universal conclusions of engaging viewer with my work I illustrate in this research with propaganda methods - selective representation and simplification. This coexistence of physical narratives and the digital media demonstrates to viewer with the power of media manipulation via opposing the real, full object next to it. This approach is necessary for the development of a more informed and insightful society.
Overall, whether through digital manipulation of traditional materials, collaborative AI projects, or immersive digital installations, I work with the power of technology to expand the boundaries of artistic expression and audience engagement and illustrate Deleuze's concept of difference by highlighting the uniqueness and multiplicity of individual experiences.
7 Studying Viewer Engagement. Physical, Emotional, Immediate and Long-term Reactions
Figure 4.5 Marina Wittemann, Studying Viewer Engagement: interviews, feedback sessions, observing viewers' physical and emotional reactions. Video evidence: https://youtube.com/shorts/--GiMeDkqkQ?si=mkJZnMSTLIUtteMO and https://youtube.com/shorts/wr8bvbXj1jk?si=RBq9H7a9BY3VFN7q
By conducting, conversations, interviews and questions during visits to my studio and exhibitions I was examining how viewers interact with my work both physically and emotionally. I gained insights into the effectiveness of my methods and refine my approaches. I paid attention to their immediate reaction - spectators always wanted to touch the work, and they were left for long-term reflection, the ideas of my work stayed with them for a great while and influenced their thoughts and feelings as they returned to me with comments about what they saw in my studio.
Figure 4.6 Marina Wittemann, Tonal Dichotomy, 2024
Spectators described my artworks as honest and emotionally resonant, regardless of their cultural, gender, or age differences. The colour fields, in particular, elicited strong emotional connections. Artworks involving wood and debris prompted deeper contemplation, demonstrating how viewers first react emotionally before engaging intellectually.
They noted how the material’s quality and texture could be felt without actual physical touch, and how my sculptures conveyed themes of reassembly and restoration. The contrast between rough materials and soft colours sparked discussions on synaesthesia and gender identity. My colour fields immersed viewers, drawing them into a sensory experience that transcends traditional artistic boundaries.
Figure 4.7 Marina Wittemann, Sketch of my work by one of the visitors to Art Karlsruhe
8 Impact Assessment. Change of attitude and behaviour.
For me, disrupting complacency means challenging the inaction of people, especially those in Russia who remain silent about the war. While I understand the dangers of speaking out, it is crucial for those outside Russia to voice their opinions. Complacency also includes those who support the war due to propaganda and brainwashing. I believe every person has a responsibility to take action. Through my art, I aim to disrupt this environment, provoke critical thinking, and inspire individuals to challenge the status quo and speak out against injustices.
Viewers' feedback highlights that the narrative and process of working with the material speak louder than words. The repetitive assembly process in my colour-fields evokes visceral, uncontrolled, and intuitive reactions, tapping into pre-cognitive feelings. Viewers often respond emotionally to the texture, colour, and composition of my pieces before engaging with the conceptual underpinnings. This immediate sensory engagement breaks down barriers to critical engagement and makes complex ideas more accessible and compelling.
Today, I notice changes in people's behaviour mainly on social networks. They either unfollow me or leave ambiguous comments. I believe that even a small reaction indicates a transformation in thinking, and I must recognize the slowness of this process and continue my efforts.
9 Collaboration. Diverse Perspectives
Figure 4.8 Marina Wittemann and Christiane Lohrig, working on a collaboration project
In my collaborative project with a German artist known for her vibrant abstract paintings, we aim to blend our distinct artistic voices into a unified yet multifaceted artwork. She employs watercolours, crayons, spray colours, and soft and oil pastels, creating bright and lively pieces that often incorporate words and figures. During our private discussions, she revealed that this brightness conceals deeper, more unsettling experiences from her life. Our collaboration involves creating individual pieces and then exchanging them, allowing each of us to add our unique touch to the other's work. This process highlights the importance of valuing diverse contributions and fosters an environment where multiple voices and perspectives can interact, generating new artistic possibilities. By focusing on the unique differences each participant brings, we avoid forcing conformity and instead celebrate the richness of our combined expressions.
10 Comments and Critiques of Theoretical Perspective
My use of materials and the theoretical perspectives guiding my practice have not been without critique. Some critiques encountered in the literature suggest that the strong focus on material associations can overshadow the conceptual aspects of the work. For example, while the affect theory and synaesthesia give an understanding of the emotional and sensory responses to my work, some argue that these theories may not fully account for the diverse interpretations that arise from different cultural contexts.
«Culture shapes the expression of traumatic stress.» (Kolk, 2014 p. 216)
Additionally, the theory of difference by Deleuze has been instrumental in framing my approach to challenging norms and perceptions. However, critiques of Deleuze’s ideas highlight the potential for an overemphasis on fluidity and change, potentially neglecting the stability and continuity that also play a role in societal structures. (Colebrook, 2006)
11 Qualifications and Limitations
The subjective nature of art interpretation means that the emotional and sensory responses to my work can vary widely among different viewers. Cultural background, personal experiences, and individual sensitivities all influence how materials and their associations are perceived.
Moreover, the context in which the artworks are displayed can significantly impact their reception. For example, the outdoor environment's interaction with the work adds layers of meaning related to the elements and the passage of time, which might not be as prominent in an indoor gallery setting.
Furthermore, while the use of unconventional materials effectively challenges traditional norms, it can also limit accessibility. Viewers unfamiliar with the materials' cultural or historical connotations may miss some of the intended meanings, leading to varied interpretations that may not align with my original intent.
Conclusion
In summary, my findings demonstrate that the inherent meanings and associations of the materials used in my artwork play a crucial role in challenging established norms and provoking visceral responses. While critiques and limitations exist, the overall impact of these materials on viewer engagement and critical reflection is profound. The integration of theoretical perspectives, such as affect theory, synaesthesia, Affect theory and Deleuze’s “Difference”, has provided a rich framework for understanding and articulating these effects, contributing to the ongoing dialogue about the transformative power of art.
The potential of art to disrupt complacency and provoke visceral responses is vast. By challenging traditional notions of what constitutes art and encouraging viewers to engage with their own experiences, art can inspire a deeper understanding of the world and a commitment to creating positive change.
Looking ahead, there are several avenues for further exploration and research. One potential direction is to deepen my engagement with the theory of construction and deconstruction, exploring how these concepts can inform my artistic practice and contribute to my understanding of societal transformation. Additionally, I could continue to explore the use of propaganda methods in art, experimenting with new techniques and approaches to disrupt complacency and inspire critical reflection. More, fine dining can be included as a fifth and final sense of my works. Finally, I could expand my exploration of temporality and the fragility of existence, considering how these themes intersect with broader questions of identity, memory, and belonging. By continuing to push boundaries and challenge established norms, I hope to contribute to a more vibrant and dynamic artistic landscape.
Ultimately, my journey as an artist is one of self-discovery and exploration. By staying true to my vision and embracing the chaos of life, I strive to create art that resonates deeply with viewers and encourages them to see the world from a fresh perspective. Through my work and personal narrative, I hope to inspire others to challenge their own assumptions and take action to create a better, more empathetic world.
List of Figures
Chapter I
Figure 1.1 Street art by Banksy in Los Angeles. Photo by Ted Soqui/Corbis via Getty Images This podcast thinks it’s uncovered Banksy’s real voice Available at: https://www.dazeddigital.com/art-photography/article/60354/1/this-bbc-sounds-podcast-banksy-story-uncovered-banksy-real-voice (Accessed 04.06.2024)
Figure 1.2 Dorothea Lange, 16 Oct 2018 - 27 Jan 2019 at the Jeu de Paume in Paris, France, 21 JULY 2018 Available at: https://www.meer.com/en/40796-dorothea-lange (Accessed 04.06.2024)
Figure 1.3 12 Kehinde Wiley Paintings You Should Know, 2023-10-24 Equestrian Portrait of Charles I (2007) Available at: https://www.singulart.com/en/blog/2023/10/24/kehinde-wiley-paintings/ (Accessed 09.05.2024)
Figure 1.4 Cindy Sherman - Untitled #362 1954 Glen Ridge, NJ/USA Available at: https://www.van-ham.com/de/kuenstler/cindy-sherman/cindy-sherman-untitled-362.html (Accessed 09.05.2024)
Figure 1.5 Picture of the AIDS quilt in front of the Washington Monument. Available at: https://en.wikipedia.org/wiki/NAMES_Project_AIDS_Memorial_Quilt#/media/File:Aids_Quilt.jpg (Accessed 09.05.2024)
Figure 1.6 Marcel Duchamp. Bottlerack, 1961 (replica of 1914 original) © Association Marcel Duchamp/ADAGP. Copyright Agency, 2019 Available at: https://www.artgallery.nsw.gov.au/artboards/duchamp/ (Accessed 04.06.2024)
Figure 1.7 Gaggan Anand “Lick it Up” staple dish Available at: https://www.instagram.com/gaggan_anand/p/CbbltSULHev/?img_index=6 (Accessed 06.06.2022)
Figure 1.8 Phyllida Barlow, Dock (install), 2014. © Phyllida Barlow. Photo: Alex Delfanne. Courtesy the artist and Hauser & Wirth Available at: https://elephant.art/space-time-two-decades-of-commissions-in-the-duveen-galleries-17052021/ (Accessed 06.06.2022)
Figure 1.9 El Anatsui, Gravity and Grace, 2010. Collection of the artist, Nsukka, Nigeria. Courtesy Jack Shainman Gallery, New York. El Anatsui: Triumphant Scale Available at: https://www.e-flux.com/announcements/246062/el-anatsuitriumphant-scale/06.06.2022)
Figure 1.10 Visit: Pirelli Hangar Bicocca Milan 01.04.2023 Anselm Kiefer, The Seven Heavenly Palaces 2004-2015 and GIAN MARIA TOSATTI, NOw/here Available at: https://pirellihangarbicocca.org/en/bubble/interview-gian-maria-tosatti/ (Accessed 13.12.2023)
Figure 1.11 Carolee Schneemann, Ubi Fluxus Ibi Motus, Venezia, 1990 Available at: https://elephant.art/carolee-schneemann-ubi-fluxus-ibi-motus-venezia-1990-02102020/ (Accessed 13.12.2023)
Chapter III
Figure 3.1 Marina Wittemann, Untitled (Fairy tale), 2024, recycled newspapers, canvas, paint, screws, metal grid, cardboard, acrylic, fixatives, wood, 104 x 174 x 15 cm. Video of the work: https://youtu.be/20YzW28Yhl0
Figure 3.2 Marina Wittemann, For My Mom, 2023, canvas, paint, recycled newspapers, screws, metal grid, cardboard, acrylic, fixatives, wood, video projection 3´30, 118 x 135 x 23 cm. Video of the work: https://youtu.be/TDjNwLDesbk
Figure 3.3 Marina Wittemann, At home, 2023, recycled wood, metal, concrete, burlap, copper-coated paper, cardboard, newspapers; acrylic paint, sand, screws, nails, 63 x 72 x 66 cm. Video of the work: https://youtu.be/LIvhSSF7zA0
Figure 3.4 Marina Wittemann, Colour of War, video 4´00, 2023 Video of the work: https://youtu.be/VJ_0QBr3mv0
Figure 3.5 and 3.6 Marina Wittemann, Fragmented Perspectives No 1, 2024, Photo print behind glossy acrylic glass, 53,3 x 40 x 0,8 cm. Video of the work: https://youtu.be/kxw63adAArU and Perfectly Imperfect, 2024, acrylic, newspapers, burlap, screws, cardboard, metal grid, sand, сhipboard, paint, fixatives, wood, 46 x 54 x 40 cm. Video of the work: https://youtu.be/cuTc-1bjAD8
Figure 3.7 Marina Wittemann, Temporary installation project “Temporary Life”on the wall of a house. Completion date: June/July 2024 Video of the work: _____________
Chapter IV
Figure 4.1 Marina Wittemann, Photo of a room with my crafts dated 2001
Figure 4.2 Marina Wittemann, Work in action. Contrasting approaches in monotony and active bodily involvement in the making process. Additional videos: https://youtu.be/6tvFWNnQ1OI and https://youtu.be/0EBtMIcM_Ag
Figure 4.3 Marina Wittemann, Selection of materials for work. 1 photo - in a hardware store, 2 photos - remains at a sawmill, 3 - rest at a construction site
Figure 4.4 Marina Wittemann, Studio view. Work in progress
Figure 4.5 Marina Wittemann, Studying Viewer Engagement: interviews, feedback sessions, observing viewers' physical and emotional reactions. Photos taken during my exhibitions in Munich, Karlsruhe and St. Ingbert, Germany, 2024. Video evidence: https://youtube.com/shorts/--GiMeDkqkQ?si=mkJZnMSTLIUtteMO and https://youtube.com/shorts/wr8bvbXj1jk?si=RBq9H7a9BY3VFN7q
Figure 4.6 Marina Wittemann, Tonal Dichotomy, 2024, recycled newspapers, acrylic, water-based fixatives on metal grid, wood, 104 x 174 x 10 cm. Video of the work: https://youtu.be/Qnj7n-ADk4g?si=Ub6Gifyoc2TYBKvy
Figure 4.7 Marina Wittemann, Sketch of my work by one of the visitors to Art Karlsruhe
Figure 4.8 Marina Wittemann and Christiane Lohrig, working on a collaboration project, Germany 2024
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