– The Third Man’s Unreliable narrator – This piece of work has been built and is contingent upon:


Humour (if it counts as a structure) – My theory is that a humorous approach will be more successful in inviting the audience to think laterally and attempt to engage with the framework of the piece.  “The juxtapositions in new metaphors can often be absurd, … unlikely pairing and absurdity leads to discovery[1].(Serig, 2005)


Or, perhaps more accurately, indirect representation in metaphor and analageous devices[2]

Generative metaphors are a function of my visual annalogies and are intended to set a fuse which sparks lateral thinking. This function is key in explaining the context in my interpretive installation and dialogical approaches.

Creative investigation

Emily Pringle’s Tate Paper (The Artist as Educator: Examining Relationships between Art Practice and Pedagogy in the Gallery Context) examines art practices and dialogical forms of gallery education. Whilst I do not seek to ‘educate’ Pringle’s observation on the drivers of the artists she interviewed in this context flagged up their interest in ‘practice’ as a process of conceptual enquiry and of making meaning.

“… [it’s] about methods of investigation, I suppose, the kinds of questions I find myself asking and I want to find, not so much answers to, but to show that process of investigation”.  Liz Ellis (Pringle, 2019)

Diological (or Litterol Art) – (relational Aesthetics) –

“[littoral]can be taken to express a point of complimentary meeting, an in-between space”. (Kester, 2009)

“While it is common for a work of art to provoke dialogue among viewers this typically occurs in response to a finished object. In these projects conversation becomes an integral part of the work itself”.(Kester, 2005)

Nicholas Bourriaud’s (Esthétique Relationelle(1998).) ‘…main claim is that the social interactions created between the viewing audience and a work of art hold the true meaning of art. Through “little gestures,” Bourriaud suggests, the “relational fabric” of society may be “re-stitched” (curatorialintern, 2011)

there is a question over Bourriard’s direct relevance – kester looks a better direction.

However in connection with NB:  I don’t necessarily intend to change the world there is an intent, in my piece, to express dialogue in the action of the printmaker working with a matrix, ink and paper and also to encourage dialogue and engagement with the product and intent of that process.

One artist that works in a similar way is Victoria Bradbury whose website title is “Blurring Art and Life”. Her award-winning animation ‘Blue Boar’ perfectly describes the action of dialogical art and relational aesthetics. The animation contained face recognition technology and imposed the face of the viewer on a blue boar. Her ancestor was hung as a witch at Salem because, it was purported, that she metamorphosed into a blue Boar, but almost every other of her works alludes in some way to this way of social inclusion in her work[3].




Bradbury, V. (2019) Blurring Art and Life: © All artworks on on this site are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. (Accessed: 11/03/19 2019).

curatorialintern (2011-06-24 2011) ‘Relational Aesthetics: The Art of Sociability’, Where Art Meets Life. Available at: https://nbmaa.wordpress.com/2011/06/24/relational-aesthetics-the-art-of-sociability/ 2019].

Kester, G. (2005) Conversation Pieces: The Role of Dialogue in Socially-Engaged Art. Theory in Contemporary Art Since 1985. USA: Blackwell (Accessed: 11/03/2019 2019).

Kester, G. (2009) Dialogical Aesthetics:A Critical Framework: c-cyyte.com/occuLibrary (Accessed: 11/03/2019 2019).

Pringle, E. (2019) The Artist as Educator: Examining Relationships between Art Practice and Pedagogy in the Gallery Context – Tate Papers | Tate.

TATE Papers, UK: @tate. Available at: https://www.tate.org.uk/research/publications/tate-papers/11/artist-as-educator-examining-relationships-between-art-practice-and-pedagogy-in-gallery-context (Accessed: 11/03/19 2019).

Serig, D. (2005) A conceptual structure of visual mataphor in the practices and exhibition of a consortium of artists.


[1] For example, Niels Bohr was influenced by cubist painting while developing his theory of quantum physics. Darwin reported in his notebooks that a reoccurring image of an irregularly branching tree in his thoughts may have contributed to his theory of natural selection (Indurkhya, 1994). And the mind, to Freud, was imagined as an iceberg with the tip being the consciousness and the bulk underwater as the unconscious (Winner, 1988

[2] Metaphor: Compares unrelated things a figurative language that describes something as something that it’s not.

[3] Blue Boar situates a participant in the Salem witch trial of my 10th great-grandmother, Mary Bradbury.  “Using a programmatic and sculptural interface, the piece situates a visitor at the notorious 17th century Salem witch trials in Massachusetts. One of the claims against which my ancestor was convicted was that she had metamorphosed into a blue boar in her garden. When encountering the Blue Boar artwork, a visitor is virtually placed in the stance of the accused as his facial likeness is live-captured and projected, as part of a luminous blue boar apparition, onto a sculpted pig form”.