On Saturday 24 March, the Institute of Imagination are collaborating with Tate Britain for a digital family day in the Tate galleries; Imagine If.  In this series of posts, artists from the festival tell us how they are using the Tate Britain as a space to imagine. Paintings often capture movement in an amazing way, but imagine if you could change the movement or use movement to bring the painting to life? Rosie Munro Kerr will be creating drawing bots using household objects and motors to inspire children to think about how making and movement can combine to animate artworks. Here, Rosie considers the art of making and its importance.

On the importance of making

We live in a constructed world of made objects and things.

We’re surrounded by an environment of objects in a state of constant flux.  It’s constantly adapting, as we consume, buy more, make more and discard things, continuously.

All these objects and things are ‘made’ – that is, any object or thing that requires some degree of intervention or creation to come into existence.

This could be: a shelter, a path, a spearhead, a train, a plane, a pot, a sock or a book, a piece of music, even a leaf plucked from a tree, or a computer. The list is endless.

A construction by artist Rosie Munro Kerr

‘Made’ objects include handmade, technological or machined objects, which all appear within the lineage of making. Over time, each making process is adapted and evolves, from the first basket weavers, to the first rocket engineers

Let’s consider a single object or thing.  It is particular to three overriding and essential factors that determine its existence.  These are: the maker, the process and the environment.

Every object that is made is both specific to its environment and becomes part of that environment.

When we make something, we (the maker) enter into a carefully balanced scenario.  How we choose to make the object (the process) might depend on how we’ve seen it done before, how we ‘want’ to make it, how we ‘feel’ like making it, traditional skill or technical ability, it might depend on necessity or availability of materials, or a particular set of environmental circumstances.

All these factors come together in a rich soup that is unique in each instance to the object that is created. This object is added to a world of stuff (our environment), which shifts to accommodate the new arrival.

And so every object that is made is both specific to its environment and becomes part of that environment.

An article by Rosie Munro Kerr. Find out more about Rosie’s work on her website

Posted by:Rosie Munro Kerr

Rosie is an artist that makes installations that capture and digitally replicate an analogue experience and the sensory condition from which it is produced. Her research has been focused around the replication of sensory environmental inputs. She looks at systems of making and the metamorphosis of skill, and visualises the made object as a synthetic and symbiotic product of Maker, process and biophysical environment. Find out more on Rosie's website.

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