Abstract:
This research explores translation between non-textual objects in contemporary studio practice, focusing on translation between architecture and sculpture. There has been limited investigation into this area as an extension of traditional concepts of translation to date.
Theoretical positions on translation are considered through the lens of Nicolas Bourriaud’s radicant artist in considering how translation can operate in this context and apply to sculptural practice. These ideas are then extrapolated to the enrooted artist based in Aotearoa-New Zealand. I agree with Steven Félix-Jäger that translation can occur from the position of the glocal, while I argue that this position can incorporate radicant subjectivity and be aesthetically led. Thus, I contend translation becomes an expression of lived existence in which architectural memory is a translatable cue.
My argument is illustrated through examples from my own practice and artists Fiona Connor, Sam Durant, David Hammons, Dominique Gonzalez-Foerster, Gordon Matta-Clark, Michael Parekōwhai, Shannon Te Ao and Hito Steyerl. Artworks are used to map intersemiotic and intrasemiotic categorisations of semiotic translation theory, extending the application of this taxonomy to sculptural translation.
This research has been led through a process of experimentation, development and exhibition; the ideas within this thesis are made physical in my sculptural practice and will conclude with an expected exhibition at Elam School of Fine Arts.