Ritual Craft - Process

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EXHIBITION DEVELOPMENT SUMMARY

Craft Theory and Practice through Fabrication and Film

works:

Powerline (Anatomical Film Study)Rage Offering (Ritual Object)

Ryan Holandes

Summer 2011



Thesis Abstract

Contemporary craft emulates ne art, eschewing function for abstract visual

effect, and abandoning its primary distinguishing characteristic: the ability to

operate directly in human experience.

To articulate an alternative, this exhibition takes as its patron the practitioners

of ritual body modication. Exploring the role of objects in transforming imagi-nation into actuality, it exposes the reciprocal relationship between maker and

user, highlighting design as a process that exploits material to invoke intense

encounters.

The written thesis explores the origins of “visual craft” within a world dened

both by the principles of Modern Art and the sudden dominance of Industry.

By looking at precolumbian metalwork and spiritual rituals, I demonstrate that

alternative modes of perception have historically been exploited to great effect.

I conclude by suggesting that, through the integration of object and esh, the

culture of body modication challenges makers for experience that is lived,rather than observed.



Ryan Holandes

Powerline (Stills from an Anatomical Study)

forged copper, grounding rod, nylon cord, surgical stainless steel

108 x 5 x 15 in

The Powerline is an object study in the dynamics of ritual esh pulls. The performance served as a

technical analysis of the human body confronting an unyielding opponent. Typically, the challenge

is between two individuals, with limits being set by the weakest individual.

In this case, the object does not show weakness, aiming all attention to the puller. It becomes a test

of character, and leaves a record of the achievement, which can be evaluated, or challenged, by

the individual or community.

photography by Logan Rollins



Powerline (Scenes from an Anatomical Study)

forged copper, grounding rod, nylon cord, surgical stainless steel108 x 5 x 15 in

click image to view video


















Ryan Holandes

Rage Offering (launcher with glass ammunition)

anodized titanium, surgical stainless steel, articial sinew, blown glass

29 x 5 x 5 in

Our social institutions sterilize perceptual experience, downgrading raw interaction into a

vicarious visual commodity and leaving a populace quietly unfullled.

This object is used in Rage-Letting, an unsanctioned ritual that allows primal emotions to

complete their course. Mounted to the forearm by three pins pierced through the skin, it is

employed periodically to depressurize the chaos bottled inside the socialized self.



Rage Offering (launcher with glass ammunition)

anodized titanium, surgical stainless steel, articial sinew, blown glass

29 x 5 x 5 in




Revised Bibliography:

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Burton, John W. Culture and the Human Body: an Anthropological Perspective. Prospect Heights, IL: Waveland, 2001.Print..

Camphausen, Rufus C. Return of the Tribal: a Celebration of Body Adornment : Piercing, Tattooing, Scarication, Body

Painting. Rochester, VT: Park Street, 1997. Print.Clark, Garth. Palace and Cottage, lecture at ACC’s Minneapolis Conference, October 2009.

Geoffroy-Schneiter, Bérénice. Ethnic Style: History and Fashion. New York: Assouline, 2001. Print.

Hampton, Monica, Lily Kane, and Martin Puryear. Shaping the Future of Craft: 2006 National Leadership Conference,Houston, Texas October 19-21, 2006. New York, NY: American Craft Council, 2007. Print.

Humphreys, Caroline and James Laidlaw. “Sacrice and Ritualization”, In The Archaeology of Ritual. Edited by EvangelosKyriakidis. Los Angeles: Costen Institute: 255-276.

Klein, Daniel, Cevallos Iván. Cruz, Miguel Ángel. Cabodevilla, and Pierre-Yves Dhinaut. Ecuador : the Secret Art of Precolumbian Ecuador. Milan: 5 Continents, 2007. Print.

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Musafar, Fakir. “Piercing Enlargement” PFIQ no.18.

Pasztory, Esther. Thinking with Things: toward a New Vision of Art. Austin: University of Texas, 2005. Print.

Planet 3 Staff, Informal Interview, February 2011, Savannah GA.

Polhemus, Ted. Hot Bodies, Cool Styles: New Techniques in Self-adornment. London: Thames & Hudson, 2004. Print.

Risatti, Howard Anthony. A Theory of Craft: Function and Aesthetic Expression. Chapel Hill: University of North Carolina,2007. Print.

Scarry, Elaine. The Body in Pain: the Making and Unmaking of the World. New York: Oxford UP, 1985. Print.

Siebers, Tobin. The Body Aesthetic: from Fine Art to Body Modication. Ann Arbor: University of Michigan, 2000. Print.

Vale, V. Modern Primitives: an Investigation of Contemporary Adornment and Ritual. San Francisco, CA: Re/SearchPublications, 2010. Print.

Ward, Jim. “In the beginning there was Gauntlet” BMEzine.com 1/23/2004.

Ward, Jim (ed.). “The Tribal Aesthetic” Piercing Fans International Quarterly issue #47, 1996.

Ward, Jim. “The History of The Gauntlet” Presentation, APP Conference 2010

Ward, Jim. “Legend & Legacy of Doug Malloy” The Point June 2003, #25.

Weber, James. “On Writing” The Point Issue #41.

Wilson, Frank R. The Hand: How Its Use Shapes the Brain, Language, and Human Culture. New York: Pantheon, 1998.Print.

Wojcik, Daniel. Punk and Neo-tribal Body Art. Jackson: University of Mississippi, 1995. Print.

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Ritual Craft - Process