Contents
List of figures ……………………………………………………………………………..…..…. p. 3
Introduction (641 words) ..…………………………………………………………………..…. p. 6
Chapter I Literature and Contextual Review (964 words) …..……..…………..……..….…. p. 9
1.1 Challenging Norms and Perceptions Through Art
1.2 Unconventional Materials in Art
1.3 Theories of Critical Thinking, Societal Transformation and Others
Chapter II Methodology (597 words) ……………………………….………..………..……. p. 16
Chapter III Testing Arguments. Art Works (1016 words)….……………...………..……….. p. 18
Chapter IV Findings and discussion (1717 words) ……….…………………………..….…. p. 23
1. Art as Research
2. Authorship
3. Methods of work
4. Synaesthetic Expressions
5. Thematic Analysis
6. Critical Analysis. Unconventional Materials
7. Studying Viewer Engagement
8. Comments and Critiques of Theoretical Perspective
9. Qualifications and Limitations
Conclusions (397 words) ……………………………….………………………...……..……. p. 31
Bibliography and references ……………………………….…………..………...……..……. p. 32
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[1], 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 potential complacency and inspire transformative action on a visceral level? To address this, it is essential to understand how art may 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[2] 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[3], 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 the use of my artistic practice as a tool and the broader theoretical frameworks that inform it, this essay seeks to illuminate how art may have a role in catalysing change and contributing to a more nuanced and empathetic understanding of shared human experience and stimulating much-needed dialogue with pro-aggression viewers.[4]
My main theories for researching the chosen topic will be Brian Massumi's Affect and Gilles Deleuze's Difference. My choice is since affect is directly related to the unconscious, visceral reactions of the body from the surrounding world (Masumi, 2021, p. 38), which is directly reflected in my interest in synaesthesia and endowing artistic materials with increased stimulation of all viewer's senses. The concept of Difference allows me to use the ideas of constant change, tolerance and diversity to analyse the ways and means of challenging the norms of society. (Deleuze, 1994) In addition, I understand that the selected theories are among the few influential in challenging societal norms and perceptions. I am aware, for example, that aesthetic or cultural-ethical aspects also play an important role. But, unfortunately, within the scope of this essay, I will not be able to go beyond the existing parameters, so some important theories cannot be considered in this study. But I will keep them in mind and be guided by them in my analysis.
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 ongoing wars, 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.
To research the chosen topic, I use primary and secondary research methods. Primary methods include such as analysing viewers’ reactions, direct contact and collecting comments from spectators, as well as experiments with materials to investigate their relationship with the visceral reactions. Secondary resources include an inspection of existing books and articles, and the work of other artists, as well as an evaluation of online sites and blogs that address similar topics to my research.
Chapter I Literature and Contextual Review
To understand the potential of art in challenging norms and perceptions, I must first examine the existing literature and artistic context 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.
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 viewers and appeal to the basic values of life. These include individual character, critical thinking, diverse cultural influences, and cultural production and reception complexities.
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:
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
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
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)
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
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
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
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.
Figure 1.7 Phyllida Barlow, Dock (install), 2014.
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. (Lentini, 2021)
Figure 1.8 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.[5] While using waste materials in art might have once challenged established norms, it is now seen as a meaningful and ethically driven practice. This shift reflects a wider acceptance and appreciation of materials that engage with social and environmental issues.[6]
Figure 1.9 Anselm Kiefer, The Seven Heavenly Palaces 2004-2015
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 presents the materiality of his chosen mediums, allowing their inherent qualities to shape the outcome of the artwork. “Kiefer’s credo is contained in a paradox: ‘I make matter secretive again by exposing it.’” (Dermutz, 2010, p. 2)
1.3 Theories of Critical Thinking, Societal Transformation and Others
Theoretical frameworks from aesthetics, critical thinking, and societal transformation provide valuable insights into how art can disrupt potential complacency and inspire change. The theory of affect, as articulated by Brian Massumi, emphasizes the role of bodily responses for example “heart beat faster and deepened ... breathing” and emotions in shaping human experience. (Masumi, 2021, p. 26) Affect[7] 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 (Masumi, 2021, p. 49, 134, 174).
Gilles Deleuze's philosophy offers another valuable perspective. Deleuze emphasizes the importance of recognizing difference and 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 (Deleuze, 1994).
The ideas of critical thinking also play a crucial role in understanding how art can inspire societal transformation. Critical thinking involves questioning, deliberation, evaluation, reflection (and more) on an argument, position, information, etc. (Cottrell, 2023, p.2). This concept provides a framework for understanding how art can disrupt potential complacency and provoke transformative action, especially in post-conflict environments where societal norms are often in flux.
Chapter II Methodology
This section outlines the selected methods and approaches I use to create and analyse art that disrupts complacency and inspires transformative action. 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 "Difference" (Deleuze, 1994). However, since the ideas and concepts described by Deleuze are multifaceted and leave many aspects for interpretation, I will focus on those that relate to my art practice and are useful for this research. The concept of becoming according to Deleuze introduces novelty and experimentation (Deleuze, 1994 p. 168-221), the existence of multiple, diverse possibilities and forms (Deleuze, 1994 p. 129-167), repetition of the same and repetition of the different (Deleuze, 1994 p. 70-128), additionally the idea of sensory experiences and perceptions are influenced by subjective and contextual factors (Deleuze, 1994 p. 222-260).
Art as Research. I will treat my artistic practice as a form of research, where the creation and analysis of artworks generate new knowledge and insights (Deleuze, 1994 p. 129-167). This aligns with Deleuze's emphasis on creativity and becoming (Deleuze, 1994 p. 168-221). For Deleuze, becoming signifies a continuous process of transformation and change.
Authorship. 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 (Deleuze, 1994 p. 129-167). In addition, during the period of post-conflict and post-truth[8] visual culture, I will be reimaging the authorship and origin of the source to ask the viewers to contemplate the truth.
Methods of work. 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) (Deleuze, 1994 p. 70-128).
Synaesthetic Expressions. Synaesthesia, the phenomenon of experiencing one sense through another (such as seeing colours when hearing music) (Simner, 2019, p.3-14), 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.
Thematic Analysis. 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 add to challenging established norms (Bradley, Esche, 2007). 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.
Critical Analysis. Unconventional Materials. I will analyse how my materials convey personal narratives, challenge established norms, and engage viewers in thought-provoking dialogues about identity, society, and the human experience.
Studying Viewer Engagement: I study viewer engagement through various methods to understand how my artworks disrupt potential complacency and provoke visceral responses. These include observing viewers' physical and emotional reactions and analysing feedback and comments.
Chapter III Testing Argument. Artworks
With this exploration through creation, I aim to test how my artworks can challenge established norms and perceptions, stimulate visceral responses, and provoke critical reflection. By engaging with personal trauma (for the unfamiliar reader, with the Russian invasion of Ukraine, my parents and sister supported the war and turned against me, threatening and stalking me because I condemned the actions of the government), synesthetic expressions (I have multiple synesthesias, I see colours when I experience strong emotions, eat, I see auras, other sensations), destruction, rebuilding, digital aesthetics, and diversity I aim to create works that resonate deeply with viewers and encourage them to question their assumptions and beliefs.
Since many aspects of the selected methodology can be presented in each of the works, I want to focus within this part of the study on the structure of the previous chapter. This means that I will test by what expense and how "research", "authorship", "methods of work" and "synesthetic expressions" can be demonstrated and achieved in my artworks. As well as I will also conduct "critical", "thematic analysis" and “viewer engagement” to explore if I can comment on the ideas of Deleuze, Masumi, Vierkant, Synaesthesia and digital manipulation.
Art as Research.
Figure 3.1 Marina Wittemann, Untitled (Fairy tale), 2024. This wall object, composed of found objects, wooden debris, and newspapers painted in bright yet soft hues. Video of the work: https://youtu.be/20YzW28Yhl0
The visual composition resembles a child's puzzle or a school craft project. The fluffy paper atop the work evokes air or sky, creating a mysterious cityscape. This play of materials, colours, and composition represents the landscape of a fantastical city. Deleuze's notion of difference is not about identifying contrasts or oppositions but rather about recognizing the process of differentiation itself - the way new, unique forms and ideas emerge through ongoing transformation (Deleuze, 1994 p. 70-128). In this context, my use of varied materials and unconventional combinations embodies this theory, as each element transforms the others, generating new meanings and experiences.
My desire to address personal trauma and reflect on my past, since the beginning of the war in 2022, led me to use unconventional materials. I discovered a profound connection between these materials and my childhood memories. Repurposing old wooden objects from my father's workshop into new creations was a summer ritual of my youth. This metamorphosis and incorporation of offbeat materials into my practice illustrate Deleuze's theory of "difference" as a source of endless creativity and innovation (Deleuze, 1994 p. 129-167). By utilising materials that evoke personal history and collective memory, my work constantly redefines itself, allowing for continuous creative evolution.
Authorship.
Figure 3.2 Marina Wittemann, For My Mom, 2023. 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 colour. Video of the work: https://youtu.be/TDjNwLDesbk
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 one watches, he might feel his heart racing, palms sweating, and a sense of tension or excitement building. This physical and emotional response is an example of affect as intensity (Masumi, 2021, p. 26). It’s the immediate and intense feeling that the movie scene in the unconventional setting evokes, even before one has had a chance to fully process or interpret it.
Methods of work.
Figure 3.3 Marina Wittemann, At home, 2023 Video of the work: https://youtu.be/LIvhSSF7zA0
The sculpture "At Home" delves into domestic space and personal history, constructed from discarded furniture, building materials, and waste. This piece exemplifies Deleuze's concept of "repetition of the different," where the process of creation is not about identical repetition but about variations that bring newness and transformation. The glowing copper interior symbolizes richness and prosperity, while the exterior reflects ruin and devastation, creating a metaphorical dialogue between internal and external states. The creation process was entirely intuitive, guided by the materials themselves, reflecting my inner state and leading to the realization of the sensual. Each board's texture and painting details are visible, embodying the layered complexities of personal histories.
Synaesthetic Expressions.
Figure 3.4 Marina Wittemann, Colour of War, video 4´00, 2023 Video of the work: https://youtu.be/VJ_0QBr3mv0
In "Colour of War," synesthetic elements are intricately woven to create a multi-sensory experience, reflecting the phenomenon where one sense triggers another. “It is when one quality of experience is accompanied by an involuntary unrelated secondary experience” (Simner, 2019, p. 4-10). Similarly, the use of unfamiliar languages in the audio disrupts logical comprehension, engaging the auditory sense and emphasising sensory over cognitive responses.
Visually, the transition from the reds to the blackness symbolises war and despair, where colours evoke specific emotions. Painting my body black works as a metaphor for grief, engaging both visual and emotional senses. The tactile engagement with newspapers, distinct in texture, connects viewers physically to the narrative. Touch-colour synaesthesia (Simner, 2019, p. 2) adds another layer of sensory involvement, "Colour of War" transforms visual storytelling, and creates an immersive experience that evokes deeper emotional and empathetic responses, reflecting the complex interplay of senses in synesthetic experiences.
Thematic Analysis.
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
In "Fragmented Perspectives No 1," photographing and enlarging a detail of my sculpture, then positioning it far aside from the original piece, parallels propaganda techniques of selective presentation. This approach, akin to the methods discussed by Welch and Fox, manipulates perception by focusing on specific details while omitting others, thus shaping viewer interpretation (Welch, Fox, 2012 p. 45). To grasp the full connection to propaganda, viewers must understand my personal history with these materials and themes, or they risk perceiving it merely as a colourful art object.
This presentation stimulates the exploration of textures and shapes often overlooked, encouraging viewers to explore the relationship between the macroscopic and the microscopic, the whole and its parts. Such an approach aligns with Chomsky and Herman's exploration of media control, where specific emphasis influences public perception (Chomsky, Herman, 2011, c. 1.). By juxtaposing the digitally produced photograph with the physical sculpture, I highlight the interplay between form and content, representation and abstraction, and the tangible and intangible.
Furthermore, this work comments on Vierkant's post-digital aesthetics, where digital and physical realms coexist and inform each other (Vierkant, 2010). But during wars, the boundaries between them become manipulated details of the real world, which is why it is so necessary to distinguish fakes from reality. This hybrid form encourages deeper contemplation of materiality and digitality, stimulating viewers to critically engage with any kind of information.
Chapter IV Findings and Discussion
By examining the next aspects, I can assess the impact of my art and its potential to inspire transformative action.
Art as Research.
Figure 4.1 Marina Wittemann, Photo of a room with my crafts dated 2001
Through my art, I have made breathtaking self-discoveries. For instance, in 2021, I realized my synaesthesia while working on colour-field paperwork, deeply influencing my artistic choices. In 2022, exploring my cultural heritage revealed the fascist roots of my nation, a history I confront through my work. By 2024, creating pieces with wooden debris evoked childhood memories of my father's workshop, presenting a connection to my work materials. These experiences demonstrate Deleuze's notion of "difference"—free creativity and its analysis generating new experiences, supporting continuous transformation and change. Deleuze's idea of difference emphasises creativity's dynamic and productive nature, where each artwork is not a final product but part of an ongoing process of becoming (Deleuze, 1994 p. 168-221). My journey through different materials and themes reflects this, as each piece I create opens new pathways for exploration and understanding, highlighting the ever-changing nature of artistic expression.
Authorship.
Drawing on themes of trauma, memory, and identity, I create work that is subjective and imperfect, lacking the gloss and glamour popular in the post-truth world. When creating "For My Mom," I thought about my mother and how she would watch this video on her smartphone. This led to choosing a vertical format for the video projection and combining it with my physical work, representing a genuine, physical, and sensual part of me. Understanding that social networks are the only channel of communication with my parents today influenced my choice of tools and presentation methods. The title of the work serves as a key to interpreting the piece and personal pain in relation to my mother.
The circumstances and context were modified in me and realized through the prism of emotions in the material. As emotions and beliefs are culturally and socially constructed (Kolk, 2014 p. 216), in contrast, I strive to stimulate affect through my art which is often considered to be more immediate and embodied, operating at a more fundamental level of human experience. “Affect pertains to the body as opposed to the psychic or mental” (Masumi, 2021, p. XLVI). Thus, this work first stimulates pre-linguistic and non-conscious forces and then creates an environment in which the viewer can reflect on his own experience.
Deleuze’s theory, explains how sensory experiences are influenced by subjective and contextual factors (Deleuze, 1994 p. 222-260). "For My Mom" embodies this by using personal memories and emotions as the basis. The vertical video format mimics how my mother views videos, creating a personal connection. The disrupted projection challenges conventional sensory perception, provoking a sensible experience.
Methods of work.
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
In my practice, creating paper colour-fields through repetitive folding is a meditative process. This method involves slow, monotonous tasks that invite deep reflection and engagement with one's existence. Despite the repetition, no two folds are ever identical, embodying Deleuze's idea that repetition always involves difference at a fundamental level (Deleuze, 1994 p. 70-128).
This process highlights the positive aspects of repetitive labour. The meticulous folding of newspapers into colour-fields creates a tactile and visual experience that contrasts with the dynamic, full-action movements involved in constructing my sculptures. This duality reflects the balance between contemplation and physicality in my work. Such a counterpoint emphasizes the importance of discipline and routine, while also allowing for moments of spontaneity and transformation. This approach challenges established norms by highlighting the value of repetitive, meditative labour and its capacity to generate new insights and connections, aligning with Deleuze's idea that repetition, even of the same (Deleuze, 1994 p. 76), is a process of continuous variation and renewal.
Synaesthetic Expressions.
Figure 4.4 Marina Wittemann, Studio view. Work in progress
In my broader practice, synesthesia plays a crucial role in creating multi-sensory experiences. My sculptures, newspaper works, and installations are designed to evoke responses, engaging multiple senses. The tactile process of folding newspapers and creating colour-fields invites touch, crucial for stimulating a physical connection. Olfactory elements, like the scent of fresh newspapers or old cardboard, trigger specific memories and emotions. Auditory perception is critical, particularly in installations where the sound-absorbing properties of paper structures create unique acoustic environments. This manipulation of sound space engages auditory senses, fostering calm and introspection, reflecting Simner’s discussions on auditory synesthesia (Simner, 2019, p. 8-10). Engaging multiple senses my practice embodies synesthetic principles, transforming viewers from passive observers to active participants.
Additionally, “Most people are aware of five senses: vision, hearing, taste, smell, and touch. When additional senses, such as movement and equilibrium, are mentioned, people easily become aware of more sense organs. They have always used these sense organs, but they were not really aware of them. ... To a limited extent people are simply not aware of many synesthesias because they have never paid serious attention to them.” (Campen, p. 157). Therefore, the use of multisensory art can break the viewer's potential complacency and provide a new perspective for exploring the multiplicity of the world around us. “God makes the world by calculating, but his calculations never work out exactly [juste], and this inexactitude or injustice in the result, this irreducible inequality, forms the condition of the world” (Deleuze, 1994 p. 222). Diversity is given by nature itself, if we learn to distinguish and differentiate it, then society will have a chance for a more tolerant attitude towards each other.
Thematic Analysis.
Upon encountering an artwork, viewers engage through their senses, noticing colours, forms, textures, and compositions. This initial sensory engagement often triggers emotional or intuitive reactions, such as awe, discomfort, joy, or curiosity. These reactions are unique and multiple, as “The work of art leaves the domain of representation in order to become 'experience', transcendental empiricism or science of the sensible” (Deleuze, 1994, p. 56). As viewers process these reactions, they start considering the context - information about the artist, historical and cultural backgrounds and provided exhibition texts - which guides their understanding and invites deeper interpretations.
Viewers identify symbolic elements within the artwork, such as specific objects, colours, or arrangements suggesting metaphorical meanings. For example, a photograph might symbolize digital technology. This critical analysis can be illustrated by Bradley and Esche's ideas on challenging established norms in art by questioning how different elements relate to broader themes like politics, society, or personal experience (Bradley, Esche 2007, p. 21)[9]. This process encourages viewers to construct allegorical readings, interpreting artworks as representations of larger concepts or narratives, such as trauma, healing, destruction and reconstruction.
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 my art reflects several critical aspects. Firstly, the risk of non-recognition and commercial rejection is significant, as galleries often hesitate to showcase such works. However, this choice allows me to infuse personal history and narratives into my art, helping in healing and memory reconstruction. For instance, Barlow's use of industrial materials speaks to themes of instability and fragility, paralleling my own practice (Lentini, 2021).
Unconventional materials often have their own history, which in my works turn into metaphors and symbolic images, enhancing the viewer’s involvement. This aligns with Kiefer’s use of raw, often decaying materials to evoke historical and mythological narratives. These materials also offer multi-sensory experiences, providing tactile, visual, and sometimes olfactory or auditory sensations, intensifying emotional responses and deepening immersion.
Building materials reflect themes of construction and destruction, mirroring processes of reassembly and restoration. These materials, often linked to labour, are transformed through my artistic process to challenge and redefine these associations. Newspapers, on the other hand, introduce themes of change, and fragility, commenting on the constructed nature of media narratives.
Studying Viewer Engagement.
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
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 refined 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
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)
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 and Deleuze’s “Difference”, has provided a rich framework. The key findings were: the importance of creativity in generating new ideas and insights into the multiplicity and diversity of experiences; artistic practice is a form of research which is deeply influenced by personal and affective dimensions; becoming in terms of art is a process of constant change and evolution; subjective and contextual factors shape sensory experiences and perceptions, highlighting the need to critically understand authorship and the origin of sources; repetition even the same always involves difference at a fundamental level.
The potential of art to disrupt complacency and provoke visceral responses is overly 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 ways 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 potential complacency and inspire critical reflection. Moreover, fine dining can be included as a fifth sense of my practice. 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.
Bibliography and references
1. Adorno, T.W. (2002) Aesthetic Theory. Continuum
2. Barrett, T. (2017) Why Is That Art? Aesthetics and Criticism of Contemporary Art. Third Edition. Oxford University Press
3. Barlow, P. (2021) Frontier 2021 Lentini Damian Hause der Kunst, Munich HIRMER
4. Boon, M., Levine, G. (2018) Practice. Whitechapel Documents of Contemporary Art, The MIT Press
5. Bradley, W., Esche, C. (2007) Art and Social Change a Critical Reader. Tate Publishing. London, Tate Enterprises Ltd. Millbank
6. Campen, v. C. (2007) The Hidden Sense Synesthesia in Art and Science, The MIT Press
7. Catharsis in Psychology and Beyond: A Historic Overview, by Esta Powell, M.A., M.S. [online] Available at: http://primal-page.com/cathar.htm (Accessed 27.11.2023)
8. Colebrook, C. (2006). Deleuze: A Guide for the Perplexed. Continuum International Publishing Group.
9. Cottrell, S. (2023) Critical Thinking Skills. Bloomsbury Publishing Plc
10.Deleuze, G. (1994)"Difference and Repetition." Columbia University Press
11.Dermutz, K. (2019) Anselm Kiefer. In Conversation with Klaus Dermutz. Translated by Tess Lewis, 2019 Seagull Books
12.Frankl, V.E (1988) Man's Search For Meaning. Pocket Books
13.Groys, B. (2008) "Art Power." MIT Press
14.Gregg, M., Seigworth, G.J. (2010) The Affect Theory Reader. Duke University Press
15.Тhe Guardian, Ways of Seeing at 50: how John Berger’s radical TV series changed our view of art, Olivia Laing Mon 17 Jan 2022 [online] Available at: https://www.theguardian.com/books/2022/jan/17/ways-of-seeing-at-50-how-john-bergers-radical-tv-series-changed-our-view-of-art (Accessed 20.12.2023)
16.Joseph Goebbels: Meister der Propaganda – Hitlers Helfer | BILD Doku Available at: https://youtu.be/asIXPYGMKIM?si=qg1o1H3kieylcYIG
17.Herman, S.E., Chomsky, N. (2011) Manufacturing Consent: The Political Economy of the Mass Media, Pantheon
18.Hudek, A. (2014) The object. Whitechapel Gallery, London. The MIT Press. Cambridge, Massachusetts
19.Kolk, B. v.d. (2014) The Body Keeps the Score. Brain, Mind, and Body in the Healing of Trauma. Penguin
20.Lange-Berndt, P. (2015) Materiality. Whitechapel Gallery, London. The MIT Press. Cambridge, Massachusetts
21.Levinson, J. (2005) The Oxford Handbook of Aesthetics. Oxford Handbooks Series
22.Littell, J. (2014) The Kindly Ones. Harper Collins
23.Leon Festinger, L. (1985) A Theory of Cognitive Dissonance. Stanford University Press
24.Manovich, L. (2001) Post-media Aesthetics. Тhe MIT Press
25.Manovich, L. (2001) Post-media Aesthetics [online] Available at: http://manovich.net/content/04-projects/032-post-media-aesthetics/29_article_2001.pdf (Accessed 22.12.2023)
26.Martinon J-P. (2013) After Rwanda. In Search of a New Ethics, Studies in Intercultural Philosophy, BRILL
27.Massumi, B. (2021) Parables for the Virtual: Movement, Affect, Sensation. Duke University Press
28.Meltzer, D., Williams, M.H. (2008) The Apprehension Of Beauty. The Role of Aesthetic Conflict in Development, Art, and Violence. Published for The Harris Meltzer Trust by KARNAC
29.Robertson, L.C., Sagiv, N. (2004) Synesthesia, Perspectives from Cognitive Neuroscience. USA Oxford University Press
30.Simner, J. (2019) Synaesthesia: A Very Short Introduction. Oxford University Press
31.Schneemann, C. (2006) On Intuition. Edited by Boon, M., Levine, G. (2018) Practice. Whitechapel Documents of Contemporary Art, The MIT Press
32.Stanley, J. (2015) How propaganda works. Princeton University Press
33.The 25 Most Influential Works of American Protest Art Since World War II By Thessaly La Force, Zoë Lescaze, Nancy Hass and M.H. Miller Oct. 15, 2020 The New York Times Magazine [online] At: https://www.nytimes.com/2020/10/15/t-magazine/most-influential-protest-art.html (Accessed 29.08.2023)
34.Thomas, P. (2009) Historical-Critical Dictionary of Marxism, Historical Materialism 17 (2009) 259–264, Catharsis [online] Available at: https://inkrit.de/neuinkrit/mediadaten/en/en_archivehcdm/catharsis-hcdm.pdf (Accessed 27.11.2023)
35.Vierkant, A. (2010) The Image Object Post-Internet [online] Available at: https://jstchillin.org/artie/pdf/The_Image_Object_Post-Internet_us.pdf (Accessed 20.12.2023)
36.Welch, D. Fox, J. (2012) Justifying War, Propaganda, Politics and the Modern Age. Palgrave Macmillan
Footnotes
[1] By unconventional materials I mean those materials that are not accepted by society not connected with art. Since this research aims to communicate with the people closest to me, I call unconventional materials those that were not accepted by my parents. Materials that go beyond the art store. Materials that in everyday life would be called trash or not intended for making art. Such materials are unconventional in the sense of global art history, where perhaps part of the modernist thought has eluded a part of the population, and they are still convinced that art is oil on canvas and sculpture should be made of bronze. I want to speak to such people through my art, so by unconventional materials I mean building, found and collected materials that are not typical for traditional art. But I understand and admit that for a large part of the viewers these materials are not unconventional, but even very normal for creating contemporary art.
[2] There is a lot of research on the topic of visceral sensations, which is an independent topic for research. In my current work I will be guided by a general definition: “Visceral sensations refer to the perception of bodily signals arising specifically from the viscera such as the heart, lungs, stomach, or bladder. They encompass a large range of different symptoms, that we divided into three groups as already proposed in literature: (i) viscero‐sensitive sensations, including all feelings localized in throat, esophagus, thorax, or abdomen, such as sensations of heaviness, constrictions, ascending sensations or even pain and (ii) viscero‐vegetative sensations, such as flush, nausea, feeling of tachycardia, and dyspnea. (iii) The term “emotional sensations” refers to emotional responses associated or not with a visceral sensation.” Visceral and emotional responses to direct electrical stimulations of the cortex. Ann Clin Transl Neurol. 2023 Jan; 10(1): 5–17. Published online 2022 Nov 24. [online] Available at: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9852394/ (Accessed: 26 July 2024)
[3] Post-conflict visual culture - hereinafter I use this term as the state of visual culture that is under a shifting process after the events of February 2022, when Russia attacked the independent state of Ukraine and October 2023 when Hamas attacked Israel. The unleashed wars with the horrors that occur on the battlefields find approval among many of the population. This is caused by large-scale propaganda and large-scale restrictions/limitations on digital sources of information. Therefore, referring to Artie Vierkant's 2010 work "The Image Object Post Internet", I identify the significance of the aspects of the article with the new realities of visual culture after the outbreak of wars: it is important to identify the author, the copy may not always be more important than the original, the boundaries between the physical and digital worlds need to be redefined in order to understand where reality is and where fiction is, it is not the viewer’s attention that should be the currency, but the sensitivity and fragility of human life. But, since this is an independent and large topic for research, of which I am aware, within the framework of this essay I cannot make a more detailed discussion due to the limitation of the size of the existing topic.
[4] Pro-aggression viewers - First of all, I refer here to my family, who continues to live in Moscow, with whom I have completely lost contact because they support the war in Ukraine. Secondly, these are all those citizens of any state and religion who support or at least somehow justify any aggressive actions of the state.
[5] “The act of taking something no longer in use and giving it a second life and new function. In doing so, the finished product often becomes more practical, valuable and beautiful than what it previously was.” Habitat for Humanity [online] Available at: https://www.habitat.org/stories/what-is-upcycling (Accessed 25.07.2024)
[6] Coates, G. (2023) Art Criticism: Understanding and Evaluating Contemporary Art [online] Available at: https://naturalist.gallery/blogs/faq/art-criticism-understanding-and-evaluating-contemporary-art(Accessed: 16 July 2024)
[7] 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 (Masumi, 2021, p. 25-30). 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.
[8] Cambridge Dictionary. Post-truth - "relating to a situation in which people are more likely to accept an argument based on their emotions and beliefs, rather than one based on facts" Available at: https://dictionary.cambridge.org/dictionary/english/post-truth (Accessed: 23 July 2024)
[9] “…artists found it necessary to disrupt or operate outside of the approved boundaries of the art world in an effort to engage with politics…” (Bradley, Esche 2007, p. 22)
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 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 1.8 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 1.9 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)
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
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 Viewers Engagement: interviews, feedback sessions, observings' 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
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