Descripción Detallada de los Casos de Uso del Sistema

6.6.1       My  hand-­‐stitched  cloths  from  Iraqui  further  developing  the  tacit  as  a  vehicle       for  intercultural  communication.  

  Figure  59  We  are  flowers  in  each  others’  gardens.  (Desmarchelier,  2013)  

The   two   exhibitions   allowed   me   to   reflexively   analyse   how   the   tacit   could   be   communicated  to  an  audience.  Thus  there  was  reflexive  development  from  Iraqui,  in   how   the   works   could   be   altered   to   explicate   this.   One   work   in   which   this   is   demonstrated  is  Crossings  (figure  48  –  50),  which  was  reworked  and  renamed,  We   are  flowers  in  each  others  gardens  (figure  59).  This  was  my  attempt  to  communicate   to  an  audience  my  growing  understanding  of  the  impact  and  influence  of  the  tacit   exchange  between  us  within  my  creative  praxis.    

 I   came   to   appreciate   that   the   way   that   the   seemingly   wordless   tacit,   could   be   communicated  to  an  audience,  was  via  my  creative  praxis.  Hamilton  (2004)  posits,  

”Just  as  naming  offers  up  linguistic  recognitions,  so  too,  the  repeated  act  of  making,   offers  up  recognitions  that  are  materially  embodied.  We  need  both,  I  need  both”  (p.  

179).  Hamilton  understands  as  I  do,  that  the  tacit  and  embodied  nature  of  work  is   difficult  to  express,  but  is  “materially  embodied”.  By  renaming  Crossings  (figures  49   –   51)   after   stitching   a   flower   on   the   surface,   I   aimed   to   communicate   visually   the   resonance   for   me   of   the   staining   and   dyeing   that   I   experienced   with   the   Shipibo.  

Once  again  the  flower,  a  universal  symbol  also  represented  the  overlay  of  the  plant   materials  I  had  used  in  both  Peru  and  Fremantle,  W.A.  to  stain  the  cloth.  It  was  my   attempt,  not  at  rendering  the  tacit  explicit,  as  this  as  I  have  asserted  is  not  possible   (Polyani,  1974,  2009,  Tsoukas,  2002).  In  renaming,  Crossings  (figures  49  –  51)  what   I  experienced  with  the  Shipibo  acknowledges  what  Hamilton  speaks  of,  not  only  the  

“materially   embodied”   but   also   the   “linguistic   recognitions”,   that   is   by   naming   the   work,  I  allude  to  the  tacit.    

                          Figure  60  &  61          Resonance  (Desmarchelier,  2013)  

Another  of  my  works  entitled  Resonance  was  placed  with  a  Shipibo  work  (figures  60   –  61).  The  Shipibo  work  was  to  provide  the  audience  with  the  experience  within  the   materiality  of  the  exchange  between  us.  Resonance  was  untitled  in  Iraqui,  however,  I   deemed  it  important  to  name  it  within  this  exhibition  to  highlight  the  resonance  of   the   tacit   to   an   audience.   By   using   different   shapes   and   patterns,   but   echoing   the   colours   used   by   the   Shipibo   I   aimed   to   acknowledge   to   an   audience   the   material   exchange   between   us.   By   naming   this   piece   I   aimed   to   provide   a   linguistic   recognition  and  so  building  another  layer  of  meaning  of  communication.    

  Figure  62        Synapse    (Desmarchelier,  2013)  

Synapse  (Figure  62)  is  a  hand-­‐stitched  cloth  I  made  specifically  for  this  exhibition,   and  is  critical  in  how  it  exemplifies  the  creative    exchange  between  the  Shipibo  and   myself.   The   name   Synapse   was   chosen   because   it   means:   a   junction   between   two   nerve  cells,  consisting  of  a  minute  gap  across  which  impulses  pass  by  diffusion  of  a   neurotransmitter  (Oxford  Dictionary,  2009).  It  is  the  only  totally  new  hand-­‐stitched   piece  of  mine  in  this  show.  The  name  Synapse  and  the  intensity  of  the  red  colours   and  the  shapes  of  the  stitching,  I  would  posit,  have  an  electric  quality  and  illustrate   the   intensity   and   power   of   the   tacit   exchange   between   us.   This   work   is   pieced   together  from  indigo  dyed  fragments  of  cotton.    

I   carry   fabric   everywhere   with   me   and   the   pieces   that   make   up   Synapse   have   travelled   to   many   places,   including   Peru.   The   acrylic   disc,   with   the   etched   Shipibo   pattern,   by   its   placement,   alludes   to   another   layer   of   communication   via   the   materials.  The  cloth  in  Synapse  can  be  seen  through  the  transparency  of  the  acrylic   disc  and  the  Shipibo  patterns  cast  shadows  via  the  lighting  onto  the  cloth  behind  as  

well  as  on  the  wall.  Thus  there  are  visual  layers  of  unnamed  information,  blending   and  bleeding  into  each  other  -­‐  which  is  what  I  aimed  to  communicate  to  an  audience.    

Figure  63        Detail  of  Synapse  (Desmarchelier,  2013)    

                  Figure  64    Untitled  (Desmarchelier,  2013)  

Untitled    (figure  64),  was  placed  in  the  same  position  as  it  was  in  Iraqui  at  the  far   end   of   the   gallery   facing   into   the   gallery.   For   me,   the   way   the   surface   falls   on   Untitled,   metaphorically   implies   a   sense   of   being   imbued   with   its   own   tacit   information.   The   surface   of   this   work   has   been   stitched,   so   that   the   texture   shifts   and  changes.  This  evolved  through  the  making  and  was  not  an  outcome  I  could  have   anticipated,  until  the  works  were  placed  in  the  gallery  setting.    

Untitled   interfaces   with   the   acrylic   hand   stitched   disc   (figure   65),   and   was   my   attempt  to  offer  a  sense  of  transparency  and  layering  between  the  two  works.  What   I  aimed  to  communicate  to  an  audience  via  (figures  64  –  65)  is  how  we  impacted  on   each  other  via  our  shared  hand-­‐stitching.  The  shadow  of  the  hand-­‐stitched  Shipibo   designs   (figure   65),   change   and   shift   upon   the   surface   of   the   cloth   behind,   always   alluding  to  the  unspoken,  tacit,  creative,  exchange.  

Figure  65      Detail  of  stitched  acrylic  disc  and  interfacing  with  the  edge  of  Untitled.    

    (Desmarchelier,  2013)  

6.6.2.     Gwana’s  cloth    

  Figure  66        Chitonti,  skirt.  (Desmarchelier,  2013)  

I  chose  to  include  Gwana’s  Chitonti  skirt  in  this  exhibition  as  well  as  in  Iraqui  as  it  is   the   final   piece   of   an   artist’s   journey,   using   traditional   hand-­‐stitching   processes.   I   placed   this   differently   in   this   exhibition,   in   the   position   of   a   landscape,   metaphorically  referencing  the  landscape  of  a  long  creative  life.  

This  exhibition,  We  know  more  than  we  can  say…    like  Iraqui  includes  the  use  of  craft   based   skills   of   dying   and   stitching,   together   with   etched   and   stitched   industrial   acrylic,   projection   works   and   hand   writing.   The   positioning   of   two   significant   Shipibo  works  (figures  61  &  66),  embeds  the  exhibition.  It  is  imperative  for  me,  that   these   artists’   works,   in   this   exhibition,   are   contextualised   and   given   equal   prominence.  We  know  more  than  we  can  say…    is  my  reflexive  response  to  Iraqui,  but   more  than  that,  it  acknowledges  the  significance  of  the  intercultural,  tacit  exchange,   that  is  central  to  the  development  of  my  creative  praxis.