Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/30814
The transformation of our own bodies is the most direct proof of the passing of time. Our lifetime is the ruler from which we measure past, present and future. The human body is frequently present in my artistic practice, through references to appearances, functions and ephemeralness. The body is put in relation to objects intertwined in our daily lives and sometimes it is even hard to say where the body ends and the object begins. In this thesis I will discuss the body through a feministic approach and connect the idea of “the personal is political,” as set forth by the second wave feminists, to the political climate of today. I will look into my artistic work process with the aim of establishing a deeper understanding of ideas surrounding breath and suffocation in the context of my art. I will relate my work to artists like Sarah Lucas and Louise Bourgeois, and to concepts such as time, the life cycle concept and feminism. I will also discuss how the psychological concept of the uncanny, described by Sigmund Freud as one of the most powerful human emotions, can and has been used in the context of art. Through readings by Mike Kelley and Masahiro Mori, I find that it is a balancing act that needs to be handled carefully. With this as a starting point I will investigate how art can bring hidden recollections to the surface and help us to come in contact with our inner selves.
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