Art as Research and Research as Art: A Way of Creating Art with Theory.

Art blog | Art as Research and Research as Art..

Welcome to my Art blog, where we explore the fascinating intersection between art and research. Here, we delve into the idea of Art as Research and Research as Art, recognizing the inherent connection and creative possibilities that arise when these two fields intertwine.

Painting by Tebogo Khalo

This work explores a comprehensive approach to my creative practice, including not just the act of creating but also an intellectual and analytical dimension. It examines the approaches and influences that form my artistic practices while also adding to my larger research interests. This project aims to create a better understanding of the connections between my work and my research interests, providing light on the transformational possibilities inherent in this fusion.

This framework celebrates the idea of art as both a creative and critical activity. The goal is to demonstrate how this technique enriches my artistic experiences by allowing for a more in-depth connection with my subject matter and a clearer sense of my artistic objective.

The incorporation of research inside the sphere of my art practices is central to this research project. By fusing my artistic practice with rigorous approaches gleaned from many art historical sources, I hope to strengthen both my creative process and my research expertise. This reflective approach recognizes research's intrinsic significance in informing and developing my creative judgments, as well as the mutual effect of my artistic intuition and expression on the research endeavor.

What is Art History in my own Artistic Practices?

Art history is a field of study that examines and interprets art objects and visual art forms. It entails researching various historical periods, art styles, and methods, as well as the social, cultural, and political circumstances that impact creative output. Art historians examine and interpret artworks using diverse methodologies such as formal analysis, iconography, semiotics, gender studies, postcolonial theory, and psychoanalytical approaches. They also help to preserve and document art by investigating and documenting the origin, restoration, and exhibition history of artworks.

Art history is more than just studying paintings, sculptures, or architectural marvels. It is about peeling back the layers of symbolism, historical tales, and aesthetic decisions buried in each piece of art. Studying art history has been an enlightening journey throughout the rich tapestry of human ingenuity, expression, and cultural legacy. It is a discipline that allows me to investigate and decipher the tales, meanings, and influences that have immensely shaped my artistic practices. It is particularly important to me as I investigate my own people's rich creative past and cultural manifestations, as well as the larger global aesthetic environment. It is a journey that allows me to connect with my ancestors' stories, struggles, and achievements while also examining the numerous narratives and points of view that have emerged.

Creating Art with Theory.

As a Black South African artist, the concept of making art with theory is of the utmost significance to me. It's a strong way for me to engage with my identity, history, and the social factors that affect my experiences. The integration of theory and art becomes an avenue through which I can convey my ideas, question societal conventions, and contribute to the greater dialogue around themes of black identities, culture, and social justice, in South Africa that I deal with in my own artistic work. Creating art with theory involves a deliberate and intentional exploration of conceptual frameworks, critical analysis, and intellectual engagement. It is an active process of incorporating theoretical viewpoints into my artistic practice, enabling them to inform and steer my artwork production. Through integrating theory and art, I seek to go beyond mere aesthetics and explore deeper layers of meaning, symbolism, and social commentary.

Drawing from my everyday existence as a Black South African, I explore the rich tapestry of historical narratives, cultural traditions, and social dynamics that have molded my identity. Theory provides me with a toolset to deconstruct, analyze, and question these narratives, prompting an in-depth examination of the structures of power, inequality, and colonial and apartheid legacies. It enables me to deconstruct repressive concepts and imagine new possibilities for emancipation, empowerment, and social transformation.

Through the application of theory in my artistic practice, everything has become a vehicle for social critique and introspection. To investigate cultural norms and systematic inequalities, I employ ideas such as decolonization, intersectionality, phenomenology, and hermeneutics, among others. I intend to initiate conversations, promote awareness, and inspire revolutionary change by merging these theoretical viewpoints into my artwork. I use my creative endeavors to elevate underrepresented voices, question dominant narratives, and envisage a more inclusive and equitable future.

It also deepens my understanding of the historical and cultural context in which I exist. I draw inspiration from the rich heritage, traditions, and struggles of my ancestors, weaving their stories and resilience into my artistic expressions. Theory helps me navigate the complexities of this context, providing a framework for interpreting and representing the layered dimensions of my identity and community.

Furthermore, as a Black South African artist, I am very aware of the power dynamics in the art industry, as well as the importance of representation and inclusion. Theory gives me a critical perspective through which to study the art world, challenge Eurocentric standards, and advocate for the acknowledgment and appreciation of different artistic voices. It gives me the confidence to address institutional hurdles, challenge current paradigms, and actively contribute to the decolonization and evolution of the black art environments.

Art practice as research.

My art practice goes beyond mere artistic expression it “is a creative and critical form of human engagement that can be conceptualized as research” (Sullivan, 2006). My creative journey is not only about producing visually captivating works, but it is also a process of exploration, inquiry, and critical reflection. It embodies the essence of research by merging the realms of creativity and critical thinking within the frameworks of theory. It is a dynamic and iterative process where I embark on a quest for knowledge, seeking to uncover new insights, challenge assumptions, and delve into the depths of human experience. Through my artistic endeavors, I engage in a continuous dialogue with the world around me, inviting questions, sparking curiosity, and pushing the boundaries of what is known.

Similar to a researcher, I approach my artistic work with a desire for inquiry and intellectual rigor. I engage on a path of exploration, carrying out inquiries, and experimenting with numerous techniques, materials, and concepts. Each brushstroke, sculpture, or animation becomes an act of investigation—an endeavor to comprehend the world, communicate feelings, or investigate difficult ideas.

In art practice as research suggests I am not constrained by predetermined outcomes or fixed methods. Instead, I embrace an experimental mindset, welcoming the unexpected and making room for surprising discoveries. To discover new viewpoints and ways of seeing, I take risks, challenge conventions, and push the boundaries of creative traditions. My artistic expression becomes a way of communication in this creative and critical dialogue, a concrete embodiment of my research approach.

Each work I make becomes a visual or tactile depiction of my investigations, encapsulating the essence of my studies, ideas, and feelings. It demonstrates the transforming potential of art to elicit conversation, thought, and emotional responses. A profound connection to the world and a great knowledge of social, cultural, and political situations are also required. My artistic endeavors are not isolated from the larger social fabric but are intrinsically connected to it.

Through my work, I engage with contemporary issues, challenge power structures, and offer alternative narratives and perspectives. Moreover, it encourages me to critically reflect on my own creative process, to question my choices and intentions, and to consider the larger ramifications of my work. It necessitates self-awareness, sensitivity to feedback, and willingness to interact with others. This contemplative component contributes to my artistic development and strengthens the effect of my artistic offerings.

Art practice Informing research.

I am intrigued by the uncommon constructive interplay that occurs when the methodical and rigorous features of research collide with the aesthetic and imaginative aspects of the arts. This synthesis gives birth to a transformational research process that is both systematic and expressive, lifting research into a domain of creativity and responsiveness. Accepting the power of creativity and the multifaceted nature of creative expression as integral components of my research path implies accepting the power of creativity and the multidimensional nature of artistic expression as vital components of my research journey. It entails acknowledging that research may move beyond the confines of standard academic discourse and adopt imaginative and dynamic modes of representation that incorporate aspects from diverse creative genres.

In this approach, the research process itself becomes a canvas for artistic exploration and discovery. I navigate through the complexities of my research questions and data with a sense of artistic intuition, allowing myself to engage in imaginative leaps, experimentation, and intuitive connections. I am not confined solely to standardized methods; instead, I am open to embracing qualitative insights, visual metaphors, performance, storytelling, and other artistic approaches that expand the horizons of my inquiry.

The representational form functions as an instrument for conveying the comprehensiveness and complexity of my research findings. Just as painters use a variety of creative methods to express their message, I use a variety of artistic mediums to create a depiction that reflects the spirit and subtleties of my research. By fusing my artistic practice with research, I strive to create a communication environment that engages not just the mind but also the emotions and senses of my audience.

This method allows me to discover new aspects of knowledge and significance that standard academic techniques might overlook. Because it emphasizes the significance of aesthetics, emotions, and subjective experiences in knowledge development, the incorporation of artistic components provides for a more multifaceted and embodied experience of research. It encourages spectators and participants to consider various points of view, question previous assumptions, and feel an enhanced sense of connection and resonance.

Devisualization and Hyper-contextualization.

In my artistic journey, I have observed a notable shift in the perception of art that accompanies the ‘devisualization/hyper-contextualization’ process. This transformation has led to a predominant view of artworks as primarily responsive to external circumstances, and ultimately as deliberate attempts to manipulate those circumstances. Consequently, the role of the artist has evolved from being seen as mere self-expression to being perceived as a representative of oneself. I find myself grappling with these changing dynamics and contemplating their implications. The devisualization/hyper-contextualization process, which emphasizes the removal of traditional visual elements and the heightened contextualization of art, has encouraged a critical examination of the relationship between art and its external surroundings. Artworks are now seen as products of their specific historical, social, and cultural contexts, influenced by various factors such as politics, identity, and power dynamics (Bal et al., 1996).

As an artist, the concept of the observer and the observed holds a special place within my artistic methodology. It is a dynamic relationship that inspires and develops my creative process and interactions with my subject matter.

A major part of my creative practice is the interaction between the observer, which is myself as the artist, and the observed, which might include both myself, the subjects - family, friends, and strangers - or objects of my artistic inquiry. I recognize the inherent subjectivity in the process of seeing when I embrace the observer and the observed as an artistic practice. As the spectator and the gazed, I contribute to the creative encounter with my own particular collection of experiences, feelings, and viewpoints.

I am also conscious of the power dynamics inherent in the act of observing. As an artist, I have some authority and influence over how I depict the things or objects that I view. I am aware of the possible influence my gaze and aesthetic choices may have on the depiction and perception of the observed. This realization inspires me to approach my subjects with compassion, respect, and ethical concerns.

Through this methodology, I strive to create a dialogue between the observer and the observed. I aim to go beyond a mere surface-level depiction and seek a deeper understanding of my subjects. By immersing myself in their stories, contexts, and lived experiences, I endeavor to capture their essence and convey a more nuanced and authentic representation.

As an artist, this practice also encourages introspection and self-reflection. I am continuously questioning my own positionality, prejudices, and preconceptions, all of which may impact my perception and interpretation of what is witnessed. I acknowledge that my job as an observer is inextricably linked to my own history, cultural upbringing, and personal experiences, rather than being detached or objective. By recognizing and questioning these influences, I hope to bring more empathy, humility, and openness to my artistic work.

In addition, this methodology urges me to investigate the intricate interaction between the artist and the audience. When my artwork is finished, it becomes a catalyst for the audience's continued observation and interpretation. The observer is replaced by the spectator, who brings their own unique viewpoints, feelings, and experiences to the creative interaction. This dynamic relationship between the observer (viewer) and the observed (artwork) provides significance and complexity to the creative discussion.

The method of action functions as an insightful and thought-provoking creative process. It recognizes the subjectivity of perception, encourages self-reflection, and promotes interaction among the artist, subjects, and spectators. By embracing this process, I aim to make work that goes beyond surface-level portrayal, capturing the essence of the topics viewed while understanding the complexity of creative interpretation and human perception.

Artistic Phenomenology and Hermeneutics.

As an artist, I find “the description of phenomenology with the interpretation of hermeneutics” (Jeffers, 1993) to be a fascinating and illuminating framework for my creative practice. The combination of these two philosophical approaches offers me a deeper understanding of the complexities of human perception, interpretation, and the construction of meaning.

Phenomenology, with its focus on direct experience and subjective consciousness, allows me to delve into the realm of lived experiences and explore the intricate interplay between the observer and the observed. It encourages me to embrace a heightened awareness of my own sensory perceptions, emotions, and thoughts as I engage with the world around me. Through phenomenology, I strive to capture the essence of these experiences, to unravel the layers of meaning inherent in the relationships between myself, my art, and the viewers.

Hermeneutics, on the other hand, supplements phenomenology by giving a framework for interpretation and understanding. It encourages me to immerse myself in the process of decoding and making meaning of the aesthetic expressions I produce. Hermeneutics recognizes the intrinsically subjective character of interpretation, acknowledging that my artworks may be read via a variety of lenses and viewpoints. It helps me to think about the larger cultural, historical, and social settings in which my art exists, as well as the diverse backgrounds and experiences of the people who interact with it.

When I merge phenomenology together with hermeneutics in my artistic work, I begin on an inquiry, analysis, and contemplative journey. I absorb myself in the present moment, meditating on the minuscule nuances, emotions, and sensations that develop inside me. This strengthens my connection to my creative process and helps me to communicate my own point of view in an authentic and frank fashion. Simultaneously, I am engaged in an interpretive process, drawing upon hermeneutic insights. I critically evaluate my cultural and historical background, the personal aspects that define my art, and how these variables impact the meaning and reception of my work. I understand that my artistic expressions are not developed in isolation, but rather as part of a greater cultural and aesthetic dialogue.

Through the integration of phenomenology and hermeneutics, my artistic practice becomes a dialogue between the inner world of my subjective experiences and the outer world of interpretation and understanding. It is a dynamic process of exploration and meaning-making, where the boundaries between the artist, the artwork, and the audience blur, and new possibilities for connection and dialogue emerge.

They enrich my artistic practice by deepening my understanding of human perception, interpretation, and the construction of meaning. It allows me to embrace the complexity and subjectivity of artistic expression while also considering the broader cultural and historical contexts that shape it. By integrating these philosophical frameworks, I engage in a transformative artistic journey that invites viewers to explore their own perceptions, interpretations, and connections with my work.

In conclusion, the discourse I have shared here reflects the multifaceted nature of art and its profound impact on individuals and societies. Art is not merely a static object or a visual spectacle; it is a catalyst for introspection, dialogue, and societal change. It can transcend barriers, challenge norms, and provoke thoughts, inviting us to question, reflect, and reimagine the world around us. In this journey, I discovered not only the richness of artistic expressions but also our own capacity for growth, understanding, and connection. By embracing diverse perspectives, I unlock a more comprehensive understanding of the role of art in shaping identities, histories, and collective consciousness. Art history has become a platform for reclaiming agency, promoting social justice, and envisioning a future where artistic contributions from all backgrounds are valued and celebrated. Through the lens of art history, I develop a deeper understanding of our shared past, our present artistic landscape, and the possibilities for our future. As a black artist, scholar, and art enthusiast, I now bear the responsibility of fostering inclusivity, dismantling oppressive structures, and amplifying marginalized voices. By centering the experiences and artistic contributions of underrepresented communities, I aim to challenge the hegemony of art history and create space for diverse narratives to be recognized and celebrated.

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Reference

Andersen, W. “ART HISTORY: REDEFINING ITS BOUNDARIES.” Source: Notes in the History of Art, vol. 8/9, no. 4/1, 1989, pp. 91–96. JSTOR, http://www.jstor.org/stable/23202704. Accessed 22 Mar. 2023.

Collins, B, R. “What Is Art History?” Art Education, vol. 44, no. 1, 1991, pp. 53–59. JSTOR, https://doi.org/10.2307/3193265. Accessed 22 Mar. 2023.

Cloete, N. 2023. Introduction to Art Historical Methodologies. Lectures notes 4. HART3005. Art History. University of Witwatersrand. 8 March.  

Cloete, N. 2023. Method, Theory and Methodologies. Lectures notes 5. HART3005. Art History. University of Witwatersrand. 3 February.  

Bal, M., Bois, Y.-A., Lavin, I., Pollock, G. and Wood, C.S. (1996). Art History and Its Theories. The Art Bulletin, 78(1), p.13 - 16.

D’Alleva, A. (2005). Methods and Theories of Art History. Laurence King: London. pp 28-45.

Jeffers, C.S. (1993). Research as Art and Art as Research: A Living Relationship. Art Education, 46(5), p.12 - 17.

‌ Sullivan, G. (2006). Research Acts in Art Practice. Studies in Art Education, [online] 48(1), pp.19–35.

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