Kimberley and Karl Foster are both artists and lecturers and have worked together as both hedsor and sorhed for 15 years. Their research is currently focussed on the development of discrete pedagogical art practices, equal in status to more recognisable realms of artistic activity. Central concerns of this form of art practice are the importance of embodied material encounters, the potential affordances of pedagogical art objects, and the problems of not-knowing within art pedagogy.
Pedagogical encounters with materiality have been the central pre-occupation of both hedsor and sorhed practices. They recognise that carefully considered uses of materiality within appropriately framed learning encounters create important spaces of emergence through which potentiality develops. Materiality’s close, but differing relationship to written and verbal language enables productive dialogue that is never entirely understood. Often, matter does not behave in the way it is expected, it agitates the known and the familiar making gaps appear. This kind of re-visioned or altered attention enables the overlooked to be reconsidered and more closely observed.
Karl and Kimberley are both currently involved in PhD research (Kimberley – Goldsmiths, Karl at Chelsea College of Arts). Their practice research is both singular and yet could be seen as parentheses bracketing the space of a different kind of practice. Working apart – together they are picking-at and disrupting to change the reach of material pedagogy and question its status and properties as art practice.
Tenderfoot is a ‘Materiality’ website/artwork by Laura White. It includes Laura’s writing on materiality, a curated space where Laura invites writers, researcher, artists and other individuals to showcase a piece of work, a forum for discussions on materiality plus lots of other stuff… Laura is interested in what it means to be in the world of materials, objects and stuff, and exploring the digital and the physical environments which are becoming increasingly indistinguishable.
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