Creative PracticeJamie Limond

DNA (2011)

• Subject: introspective, trying to understand my condition• Methodology: drawn from a lived experience.• Process: material references to a potential cause,

ephemera that supports a hypothesis. Assemblage.

• Theory: Tracy Emin My Bed (1998) for its self-analysis, Joseph Cornell Untitled (Owl Habitat) (1940s) for his use of assemblage. Cindy Sherman Untitled Film Still #48 (1980’s) et al for her use of appropriation and parodied also through the theorists Buchloh (1982) and Mellor (1998) and allegory through Owens’s (1992) examination of Rauschenberg.

Semiotics in Praxix V (2014)

• Subject: Self and semiotic as self-referential• Methodology: Introspective, symbols and their failure to

protect per se. Medium requires the use of the equipment symbolized.

• Process: spray painted using a stencil and non-toxic recipe of my own creation on to canvases covered in newsprint.

• Theory: semiotic theories of Roland Barthes (1915-1980), Charles S. Pierce (1839-1914), Ferdinand de Saussure (1857-1913), and Levi Strauss (1829-1902).

Time (2015)

Fate (tbc) (2017)

Das Kapute Ding(2018)

• Subject: a lead shoe• Methodology: I researched the philosophical ideas of

Martin Heidegger and related them to my situation.• Process: I dismantled the broken shoe and used it as a

pattern to make many shoes using different, incongruous materials, this was the last incarnation of lead.

• Theory: disclosing truth in art, heavily influenced by the debate between Meyer Schapiro and Jacques Derrida over Heidegger’s (2011) reading of Van Gogh’s painting depicting a pair of boots.

das Umsichgreifen(2018)

• Subject: the artist and the lead shoe• Methodology: Developed Martin Heidegger’s concept of

the broken hammer (1996), where I was the hammer.• Process: audio and video filters used to manipulate the raw

footage, nothing added only altered. • Theory: disclosing truth in art, heavily influenced by the

debate between Meyer Schapiro and Jacques Derrida over Heidegger’s (2011) reading of Van Gogh’s painting depicting a pair of boots.

Persistent Creative Illusion in the Discovery of Reality (2019)

• Subject: a scale model of a gallery on a box that acts as storage.

• Methodology: My investigations into mythology brought me to Narcissus, Persephone and Sisyphus. I also I built a 3D model of myself for myself.

• Process: I used model building techniques and materials, I miniaturized artworks from my body of work, catalogued next to the work.

• Theory: this was about the self, but more overtly play theory and the transitional object.

Methodologies

Medium?

Detail Beneath - Persistent Creative Illusion in the Discovery of Reality (2019)

“You look really well”

(2015-2019)(60cm x 120cm x 90cm) [Lead, solder, Acrylic, wood, Whiting, pigment and paint]

“Keep fighting” (2019)(110cm x 120cm x 90cm) [Lead, solder, Acrylic, wood, patination oil, wax and paint]

Unequivocating(2019)[4m:13s][Digital Video – YouTube]

Unequivocating [WiP detail](2019)[4m:13s][Digital Video – YouTube]

All at Sea(2020)[3min52s][Digital video] [Aletheia Art Collective collaboration]

Studio Practice and materials

Bibliography• Arendt, H. (1998) The Human Condition [2nd edition]. Chicago: The University of Chicago Press.

• Atlas Obscura (2020) “Lawrence Berkeley National Laboratory. Berkeley, California - Where the alchemists dream of transmuting base metal into gold was actually achieved.” [online] Available at: [Accessed 23/9/2020].

• Barthes, Roland (1977) Image-Music-Text. Essays selected and translated by Stephen Heath. London: Fontana Press.

• Benjamin, W. (1998) The Origin of German Tragic Drama (1928). Translated by J. Osborne. London: Verso.

• Bloch, Ernst & Adorno, Theodor (1964) “Something’s Missing” in Noble (2009) Utopias. London: Whitechapel Gallery.

• Bloch, Ernst (1954-59) The Principle of Hope. Trans by Neville Plaice et al. Vol. 1. Cambridge: The MIT Press.

• Buchloh, Benjamin H.D. (1982) “Parody and Appropriate in Francis Picabia, Pop and Signmar Polke”, ArtForum. March, Vol. 20 No. 7, pp. 28-34.

• Buchloh, Benjamin H.D. (1982b) “Allegorical Procedures: Appropriation and Montage in Contemporary Art”, ArtForum. September, Vol. 21 No. 1, pp. 43-56.

• Carden-Coyne, A (2009) Reconstructing the Body: Classicism, Modernism, and the First World War. Oxford: Oxford University Press.

• Evans, D (ed.) (2009) Appropriation. London: Whitechapel Gallery and The MIT Press.

• Fisher, Mark (2016) The Weird and the Eerie. London: Repeater Books.

• Fordham, M (2002) Explorations in the the Self. London: Karnac.

• Frankl, V (2008) Man’s Search for Meaning. London: Random House.

• Frankl, V (2011) The Search for Ultimate Meaning. London: Random House.

• Frankl, V (2014) The Will to Meaning. New York: Plume.

• Franklin, U (1991) “A Differant Quest for Truth and Shoes: Derrida on Heidegger and Schapiro on Van Gogh”. The Centennial Review. Vol. 35:1 (Winter) pp. 141-165.

• Freud, Sigmund (2003) The Uncanny. Trans. by David McLintock. London: Penguin Books.

• Harman, G. (2018) Object-Oriented Ontology: A New Theory of Everything. London: Pelican Books.

Bibliography Cont.• Harman, G. (2002) Tool-Being: Heidegger and the Metaphysics of Objects. Chicago: Carus Publishing Company.

• Heidegger, M. & Schmidt, D. (ed.) (1996). Being and Time. Translated by J. Stambaugh. Albany: State University of New York Press.

• Heidegger, M. and Krell, D. (ed.) (2011). Basic writings. Translated by Kegan & Paul. London: Routledge.

• Levi-Strauss, C (1963) Structural Anthropology. Trans. by Claire Jocboson and Brooke Grundfest Schoepf. New York: Basic Books Inc.

• Levine, S (2008) Lacan Reframed. London: I.B. Tauris & Co. Ltd.

• Mellor, D (1998) ‘Part 5: Media-Haunted Humans: Cindy Sherman, Richard Prince, John Stezaker’ in Chemical Traces: Photography and Conceptual Art, 1968 – 1998. Kingston-Upon-Hull: Kingston-Upon-Hull City Museum and Art Galleries.

• Merleau-Ponty, Maurice (1968) The Visible and the Invisible. Ed. by Claude Lefort. Trans. by Alphonso Lingis. Evanston: Northwestern University Press.

• Nietzsche, F., and Del Caro & Pippin (eds.) (2006) Thus Spoke Zarathustra. Cambridge: Cambridge University Press.

• Owens, C (1992) Beyond Recognition: Representation, Power and Culture. London: University of California Press.

• Owens, C (1980) “The Allegorical Impulse”. October, Vol. 12, Spring, pp. 67-96.

• Owens, C (1980b) “The Allegorical Impulse. Pt. 2”. October, Vol. 13, Summer, pp. 58-80.

• Phillips, S. (2014) How To Read An Anselm Kiefer | Blog | Royal Academy Of Arts. [online] Royalacademy.org.uk. Available at: [Accessed 30 September 2020].

• Sartre, Jean Paul (2003) Being and Nothingness. Trans. by Hazel Barns. London: Routledge Classics.

• Snyder, C. R. (2002) “Hope Theory: Rainbows in the Mind”, in Psychological Inquiry, 13:4, pp.249-275, DOI: 10.1207/S15327965PLI1304_01 (Accessed: 2/5/2019).

• Sontag, S (2013) Regarding the Pain of Others. London: Penguin Books.

• Stewart, S (1993) On Longing. London: Duke University Press.

• Winnicott, DW (2005) Playing and Reality. Abingdon: Routledge Classic.

• Žižek, S (2014) Event: Philosophy in Transit. London: Penguin Books.

Bibliography Visual“A Head Full of Snow” (2017) American Gods, Season 1 Episode 3, Amazon Prime, 14 May 2017.

Francis AlÿsSometimes Making Something Leads to Nothing (1997)[Video, duration 9min54sec]Available at: https://francisalys.com/sometimes-making-something-leads-to-nothing/ [accessed 28/9/20]

BanksyThe street is in play (2013)[Spray paint]Available at: https://www.independent.co.uk/arts-entertainment/art/news/new-banksy-art-new-york-painted-over-after-one-day-8854054.html [access 29/9/20]

BanksyPetrol Head (2003)[Acrylic and spraypaint stencil on canvas](30 by 30cm)Available at: http://www.sothebys.com/en/auctions/ecatalogue/2011/contemporary-art-day-sale-/lot.228.html [accessed 28/9/20]

Joseph BeuysInfiltration-homogen für Cello [Homogenous Infiltration for Cello] (1966–85)[154.5 x 183 x 64 cm][Cello, felt, fabric. Installed in vitrine]Collection of Céline and Heiner Bastian, Berlin.Photo by Jörg von Bruchhausen, Berlin. © Estate of Joseph Beuys/ SODRAC (2015)

Agnes DenesWheatfield —A Confrontation (1982)[Two acres of wheat planted and harvested by the artist on the Battery Park landfill, Manhattan, Summer 1982. Commissioned by Public Art Fund.]Photo by John McGrall.Courtesy the artist and Leslie Tonkonow Artworks + Projects.Available at: https://artishockrevista.com/2020/01/25/agnes-denes-pioneer-environmental-art/ [accessed 28/9/20]

Marlene DumasDeath of the Author (2003)[Oil paint on Canvas, 40x50 cm](Photo: David Zwirner Gallery)Available at: https://observer.com/2015/06/marlene-dumas-to-paint-new-altarpiece-for-dresden-church-damaged-in-wwii/ [accessed 28/9/20]

Bibliography Visual Cont.Tracy EminMy Bed (1998)[Box frame, mattress, linens, pillows and various objects](Variable dimensions)Available at: https://www.tate.org.uk/art/artworks/emin-my-bed-l03662 [accessed 28/9/20]

Vincent Van GoghShoes (1886)[Oil on canvas](38.1 cm x 45.3 cm)Courtesy of Van Gogn Museum, AmsterdamAvailable at: https://www.vangoghmuseum.nl/en/collection/s0011V1962 [accessed 28/9/20]

Simon Faithfull Shy Dance-Floor (2015)[3 week installation in a foot-tunnel]Hagem, Germany.Available at: www.pottfotoraf.de [accessed 16/5/2019]

Felix Gonzalez-Torres"Untitled" (Perfect Lovers) (1991)[Clocks, paint on wall](Overall 14 x 28 x 2 ¾")Credit: Gift of the Dannheisser FoundationCopyright: © 2020 The Felix Gonzalez-Torres Foundation, Courtesy Andrea Rosen Gallery, New York.Available at: https://www.moma.org/collection/works/81074 [accessed 28/9/20]

David HammonsPhat free (1995, 1997)[Video, projection, colour and sound (stereo), Duration 5min20sec]Available at: https://performa-arts.org/magazine/reports-david-hammons [accessed 28/9/20]

Mona HatoumUndercurrent (red) (2008)[Cloth covered electrical cable, light bulbs and dimmer unit, dimensions variable, installation view at Galeria Max Hetzler, Berlin.Photo: Jörg von BruchhausenAvailable at: https://www.artimage.org.uk/31982/mona-hatoum/undercurrent--red---2008 [accessed 28/9/20]

Mona HatoumRoadworks (1985)[Video VHS, colour 6min 45s]. Collection Centre Pompidou, Musée National d’art moderne, Paris.Available at: https://www.tate.org.uk/research/publications/performance-at-tate/perspectives/mona-hatoum [accessed 28/9/20]

Bibliography Visual Cont.Anselm KieferUrd, Vernandi, Skuld (The Norns) (1983)[Oil paint, shellac, emulsion and fibre on canvas](4205 × 2805 × 60 mm)Available at: https://www.tate.org.uk/art/artworks/kiefer-urd-verdandi-skuld-the-norns-ar00036 [accessed 28/9/20]

Christian MarclayThe Clock (2010)[Single channel video, duration: 24 hours]Courtesy White Cube, London and Paula Cooper Gallery, New York.Available at: https://www.tate.org.uk/press/press-releases/christian-marclay-clock [accessed 28/9/20]

On KawaraToday - Series (1966 - 2014)[Oil on canvas](Various dimensions]Available at https://uk.phaidon.com/agenda/art/articles/2014/july/14/on-kawaras-date-paintings-explained/ [accessed 28/9/20]

Cornelia ParkerTransitional Object (PsychoBarn) (2016-18)Photographed in the Annenberg Courtyard, RA, London.Photo by J. Limond 2/11/18Available at: https://www.royalacademy.org.uk/exhibition/cornelia-parker-ra-transitional-object-psychobarn [accessed 28/9/20]

Marwencol (2010) [film]. Directed by Jeff Malmberg. US: Openface. Distributed by The Cinema Guild.

Michael Sailstorfer - collaboration with Jügen Heinert3 Ster mit Ausblick (2002)[10 C- Prints, framed / also a video duration 1hr47min](ea. 55 x 77 cm)

Cindy ShermanUntitled #224 (1990)[Chromogenic color print](48 x 38")Collection of Linda and Jerry Janger, Los Angeles. © 2012 Cindy Sherman Audio courtesy of Acoustiguide.Available at: https://www.moma.org/audio/playlist/261/3365 [accessed 28/9/20]

Skyfall (2012) [film, DVD]. Directed by Sam Mendes. UK: Eon Productions. Credit: MGM. Photograph still courtesty of the Daily Mail. Available at: https://www.dailymail.co.uk/tvshowbiz/article-2181632/Skyfall-Daniel-Craigs-Bond-fake-death-aid-Naomie-Harris-M-seen-writing-obituary-new-trailer.html [accessed 27/9/2020]

Bibliography Visual Cont.Fredrick VærslevUntitled (1-7) (2016-2018)[Houses: MDF, veneer (plywood), pine, acrylic paint, acrylic spray paint, acrylic transparent varnish with UV filter and galvanised screws. Paintings: spray paint, turpentine on cotton canvas/wooden stretcher] (44 x 33 cm)Atelier Fredrik Værslev / Studio of Fredrik VærslevPhoto by J. Limond

Bill ViolaThe Veiling (1995)[Two channels of colour video projections from opposite sides of a large dark gallery through nine large scrims, ea. 2.4m x 3.3 m, suspended from the ceiling, duration 30min] Performers: Lora Stone, Gary Murphy.In exhibition Royal Academy, 29/3/2019Photograph by J. LimondCourtesy: Bill Viola Studio.

Andy WarholThe Empire (1964)Photo: The Andy Warhol Museum, Pittsburgh.Courtesy of The Andy Warhol Museum.Available at: https://www.sfmoma.org/event/empire-1964/ [accessed 28/9/20]

Ai WeiweiTon of Tea (2008)[One ton of compressed tea, 100 x 100 x 100cm]Courtesy of Ai Weiwei StudioAvailable at: https://publicdelivery.org/ai-weiwei-ton-of-tea/ [accessed 28/9/20]

Ai WeiweiSunflower Seeds (2010)[100 million painted porcelain seeds in the Turbine Hall at the Tate Modernm, London.]Courtesy of The Unilever and Ai Weiwei StudioAvailable at: https://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series/unilever-series-ai-weiwei-sunflower-seeds/ [accessed 28/9/20]

Rachel WhitereadUntitled (Found) (2016)[Resin cast]Avilable at: https://foundlingmuseum.org.uk/events/found/ [accessed 28/9/20]