"The Nature of Boundaries" Ruth's art in the chapel at the church at Mazeres

 

The archway into the chapel

 

 

The ancient church at Mazeres

 

 

 I began work on these panels in 2000 using my body as a template and playing with the ideas from my MA in Women's Studies I was questioning the preconceptions we have of our separateness as a limited being contained in a skin. In fact the boundaries of self are porous, changeable, and often indefinable.

 

 

 

Panel Four

 

John made all the supports for the18  paintings and one for the transparent panel of new work.

I decided that the work would be better free-standing. The church is beautiful but a listed building and the walls and floor are not easy to place work on. My art is part of an exhibition by several other artists in the main body of the church. The problem is of course lighting.

 

Panel Five

The new panel created for this exposition.

It is a work in progress. I would like to make it in better materials but as usual work with what I have or can afford.

 

 This panel is called Margin of Error and features a transparency of a recent photograph of my face taken by Geraldine de Haan, an artist and photographer.

 

 

Panel Five and Panel One

 

 Panel One and Panel Two

 

Panel Four and Panel Five

 

Panel Two and Panel Three

 

Panel One and Panel Two.

John is sorting out the internal lighting for Panel Five.

Contrary to the apparent size of John the panels are 8 ft high approx. and the figure is life-size. My life-size and shape 14 years ago.

“THE NATURE OF BOUNDARIES” RUTH HARTLEY 2000 – 2014

18 paintings questioning our understanding of how our bodies contain us and keep us separate from other people and the world around us. My art asks questions about life. It also questions the art market and how art is selected, promoted, sold and owned.

The paintings can be rearranged and reconfigured in different ways. Some of the quotations are philosophic ideas borrowed from Cixious, Ettinger, Kristeva; some are inventions of the painter.

Acrylic and oil stick on canvas. Panels constructed by John Corley.

PANEL ONE

• I am fluid and my body is a process
• Unwriting the body
• Materiality is necessary to manifest desire
• If I wrap my skin around me, close my eyes . . . what do I see?

PANEL TWO

• The boundary between flesh and spirit is imprecise.
• Paint is a skin.
• Where are my edges?
• Scratch the skin and the memories leach out.
• Earth is the second disguise. Paint is the third disguise.

PANEL THREE

• Texts require surfaces
• Cover spirit with a skin and then it can be named.
• Reach. Skin is the original mask/disguise.
• Love is the confusion of boundaries.
• Grounded.

PANEL FOUR

• To find the essential requires much splitting.
• Hold. The embodiment of my concerns.
• The nature of boundaries
• Mupane. The caterpillar sheds its skin.

PANEL FIVE

• Margin of Error. 2014 Acrylic drawing on Plexiglas.

« LA NATURE DES LIMITES » RUTH HARTLEY 2000 – 2014

18 Tableaux qui questionnent nos connaissances de comment nos corps nous contiennent et nous gardent séparément des autres gens et le monde qui nous entoure. Mon art pose des questions sur la vie. Il questionne aussi le marché de l’art et comment l’art est sélectionné, promu, vendu et possédé.

Les tableaux peuvent être redisposés et reconfigurés de manières différentes. Quelques-unes des citations sont des idées philosophiques empruntées de Cixous, Ettinger ou Kristeva, quelques-unes sont des inventions de l’artiste.

Les médias sont acrylique et oil stick. Panneaux construits par John Corley.

PREMIER PANNEAU

• Je suis fluide et mon corps est un processus
• Déconstruisant le corps
• La matérialité est nécessaire pour manifester le désir
• Si je m’enveloppe dans ma peau et ferme les yeux…qu’est-ce que je vois?

DEUXIEME PANNEAU

• La limite entre la chair et l’esprit est imprécise
• La peinture est une peau
• Où sont les limites de mon corps ?
• Grattez la peau et les souvenirs s’échappent
• La terre est le deuxième déguisement. La peinture est le troisième déguisement

TROISIEME PANNEAU

• Les textes exigent les surfaces
• Couvrez l’esprit avec une peau et ensuite il peut se nommer
• Jusqu’où? La peau est le masque/déguisement original
• L’amour est la confusion des limites
• Enraciné.

QUATRIEME PANNEAU

• Pour trouver l’essentiel il faut beaucoup d’élagage
• Tenir. L’incarnation de mes inquiétudes
• La nature des limites
• Mopani. La chenille mue.

CINQUIEME PANNEAU

• Marge d’Erreur. Dessin de 2014 en acrylique sur plexiglas