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Abstract
In this article, I consider some of the debates brought to the fore by the proliferation of recent textile focused exhibitions, namely, the tension between a continued allegiance to medium specific conventions and the richness, hybridity, and heterogeneity afforded by the post-medium condition of contemporary art. Through a new body of sculptural and installational practice, I propose a constellatory opening up of textile in which the medium specific can be (re)mapped in a fluid and fragmentary way. Drawing particular reference from Adorno’s conception of the constellation and mimetic comportment, this model of practice involves a mode of behavior that actively opens up to alterity and returns authority to the affective indeterminacy of the sensuously bound experiential encounter. This is demonstrated through a range of practice strategies—“thingness,” “staged (dis)contiguity,” and the play between “sensuous immediacy and corporeal containment”—which mobilize a precarious relationship between processes of attachment and detachment. Acknowledging the critical currency afforded to textile through feminist and poststructuralist critique, the work moves away from “a rhetoric of negative opposition” and predetermined discursive frameworks, returning authority to the aesthetic impulse, privileging the ambiguous resonances of an abstract sculptural language over more overt strategies of representation.
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Maxine Bristow
Dr Maxine Bristow is a Reader in Fine Art and MA Programme Leader at the University of Chester. She has exhibited nationally and internationally and recently completed a PhD at Norwich University of the Arts/University of the Arts London, entitled Pragmatics of Attachments and Detachment: Medium (Un)Specificity as Material Agency in Contemporary Art.