Through a conceptual and formal breakdown of the four series I made over the last two years, this thesis investigates the relationship between the domestic and the unpleasant, the innocent and the perverse, the human and the animal, the authentic and the copy, and the intimate and the public. This investigation rethinks the texts of Gilda Williams, Juliana Rebentish and Sigmund Freud as it refers to the legacy of the art of New Gothic. The collected texts of artists and theorists in Documents of Contemporary Art: The Gothic (2007) will link the findings of the four chapters and serve as a framework for the entire text. The ‘gothic’ is a fluid concept that operates as a mechanism for discussing the theatrical sensations of lust, mourning, and despair: combinations of critical human emotions and complex visuals that substantially support all four series of works. I will discuss my own artistic development from a two-dimensional line drawing, refering to the extensive artistic series Equs Feminus (Women with a Horse Head, 2013–2019), to three three-dimensional series of objects made during the course of the last two years. Ultimately, I will be reaserching the development of my own artistic language through unheimlich humor, reflected in the names of the fictitious protagonists created for the titles of the artworks.
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