Empty garden : A liminoid journey to nowhere in somewhere
<p>This thesis offers interconnected reflections on the liminal space called a garden—the boundary space between nature and the man-made—and the liminoid experience found there. It explores various sensory experiences a person might have while walking through an East Asian garden and its possi...
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| Eará dahkkit: | |
| Materiálatiipa: | Oahppočájánas |
| Giella: | English |
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2020
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| Fáttát: |
| _version_ | 1826312357567004672 |
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| author | Lee, J |
| author2 | Kiaer, I |
| author_facet | Kiaer, I Lee, J |
| author_sort | Lee, J |
| collection | OXFORD |
| description | <p>This thesis offers interconnected reflections on the liminal space called a garden—the boundary space between nature and the man-made—and the liminoid experience found there. It explores various sensory experiences a person might have while walking through an East Asian garden and its possible equivalent, a contemporary art installation.</p>
<p>In terms of the form of my thesis, I chose the scroll, and scrolling, to present various forms of writing that can reflect the complex experience of an East Asian garden, in the hope that in wandering through my writings a complex and disconnected liminal and liminoid experience might unfold. The term ‘liminoid’ is defined by anthropologist Victor Turner as having characteristics of the liminal experience, but as optional, temporary and not inevitably involving the resolution of a personal crisis. If liminal is ritual, liminoid is leisure.</p>
<p>The Chinese landscape painting style Shan Sui is not a depiction of nature with one vanishing point, but a conceptual idea involving multiple, shifting perspectives. It seeks to capture the essence of nature and to draw out an ideal world. Similarly, the garden in East Asia is not conceived as a re-creation of nature, but as a combination of symbols pursuing a thoroughly ideological world. The fifteenth-century Korean painting, which appears at the beginning of my scroll, implies this kind of ideal through a space designated as a ‘peach garden’. The conceptual pursuit of an ideal space of nature resulted in the extreme aesthetic garden practice called Ui-won, an imaginary garden made in eighteenth-century Korea.</p>
<p>These precedents have allowed me to rethink the meaning of creating a ‘garden’ in relation to certain forms of contemporary practice. Lois Weinberger understands artificially transferred plants as immigrants who have been separated from their homes. He suggests that ‘letting go’ rather than cultivation makes the best garden. Tomoko Takahashi’s installations allow the viewer to reflect on sensory experience within an urban ‘landscape’ of excessive technological growth.</p>
<p>By reflecting on the liminal and liminoid experience of the garden, I attempt to articulate the conceptual disorientation felt in stone garden spaces and their contemporary urban equivalents. This thesis, comprising of both writing and installation works, explores the experience of liminal space informed by particular ideals evident in Shan Sui and Ui-won and manifest in East Asian gardens and in some works of contemporary art.</p> |
| first_indexed | 2024-03-07T08:27:46Z |
| format | Thesis |
| id | oxford-uuid:844c3fc4-2a47-46c6-a0ff-30fcff172e2d |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-07T08:27:46Z |
| publishDate | 2020 |
| record_format | dspace |
| spelling | oxford-uuid:844c3fc4-2a47-46c6-a0ff-30fcff172e2d2024-02-23T09:39:35ZEmpty garden : A liminoid journey to nowhere in somewhereThesishttp://purl.org/coar/resource_type/c_db06uuid:844c3fc4-2a47-46c6-a0ff-30fcff172e2dVideo installations (Art)Gardens in artConceptual artEnglishHyrax Deposit2020Lee, JKiaer, IGaiger, J<p>This thesis offers interconnected reflections on the liminal space called a garden—the boundary space between nature and the man-made—and the liminoid experience found there. It explores various sensory experiences a person might have while walking through an East Asian garden and its possible equivalent, a contemporary art installation.</p> <p>In terms of the form of my thesis, I chose the scroll, and scrolling, to present various forms of writing that can reflect the complex experience of an East Asian garden, in the hope that in wandering through my writings a complex and disconnected liminal and liminoid experience might unfold. The term ‘liminoid’ is defined by anthropologist Victor Turner as having characteristics of the liminal experience, but as optional, temporary and not inevitably involving the resolution of a personal crisis. If liminal is ritual, liminoid is leisure.</p> <p>The Chinese landscape painting style Shan Sui is not a depiction of nature with one vanishing point, but a conceptual idea involving multiple, shifting perspectives. It seeks to capture the essence of nature and to draw out an ideal world. Similarly, the garden in East Asia is not conceived as a re-creation of nature, but as a combination of symbols pursuing a thoroughly ideological world. The fifteenth-century Korean painting, which appears at the beginning of my scroll, implies this kind of ideal through a space designated as a ‘peach garden’. The conceptual pursuit of an ideal space of nature resulted in the extreme aesthetic garden practice called Ui-won, an imaginary garden made in eighteenth-century Korea.</p> <p>These precedents have allowed me to rethink the meaning of creating a ‘garden’ in relation to certain forms of contemporary practice. Lois Weinberger understands artificially transferred plants as immigrants who have been separated from their homes. He suggests that ‘letting go’ rather than cultivation makes the best garden. Tomoko Takahashi’s installations allow the viewer to reflect on sensory experience within an urban ‘landscape’ of excessive technological growth.</p> <p>By reflecting on the liminal and liminoid experience of the garden, I attempt to articulate the conceptual disorientation felt in stone garden spaces and their contemporary urban equivalents. This thesis, comprising of both writing and installation works, explores the experience of liminal space informed by particular ideals evident in Shan Sui and Ui-won and manifest in East Asian gardens and in some works of contemporary art.</p> |
| spellingShingle | Video installations (Art) Gardens in art Conceptual art Lee, J Empty garden : A liminoid journey to nowhere in somewhere |
| title | Empty garden : A liminoid journey to nowhere in somewhere |
| title_full | Empty garden : A liminoid journey to nowhere in somewhere |
| title_fullStr | Empty garden : A liminoid journey to nowhere in somewhere |
| title_full_unstemmed | Empty garden : A liminoid journey to nowhere in somewhere |
| title_short | Empty garden : A liminoid journey to nowhere in somewhere |
| title_sort | empty garden a liminoid journey to nowhere in somewhere |
| topic | Video installations (Art) Gardens in art Conceptual art |
| work_keys_str_mv | AT leej emptygardenaliminoidjourneytonowhereinsomewhere |