The Repatriation of Domesticity in Sonic Installation Art

Abstract

This research uses the practice of Sonic Art Installation to repatriate the representation of Domesticity. The process began with the premise of Domesticity having been absorbed by feminist critique, Friedan (1963), Ruskin (1865), Chicago (1972), Rubell (2019), Emin (1998), and stereotypes surrounding women dating back to the 1820s Cult of Domesticity and True Womanhood. This has led to a significant impact upon praxis concerning Domesticity, as works being produced are primarily focused on using Domesticity as a tool for women’s issues, rather than treating Domesticity as a concept within itself. The Repatriation, that is, return to the assent of Domesticity, aims to enable new transcendent relationships with the domestic and home. Using creative and reflective practices are the interfaces between Domesticity and the themes of Spirituality, Ritual and Space. It is through this interface, Spirituality, Ritual and Space will repatriate Domesticity outside the Feminist Critique. Situating my work autoethnographically in line with Scrivener (2000), Denzin and Lincoln’s (2000), Ellis and Bochner (2000), Maso (2001), and McIlveen (2008) using Domesticity as a creative subject through reflective practice, is the methodology. The creative process will show findings through installations using a Sonic Diary, Tindall (1994), Gibbs (1988) 1, Kolb (1984), Schon (1991), of musical compositions and images that reflect different spheres of Domesticity. This research utilizes the following methods: (1) Literature Review and Contextualization, which considers the Feminist Critique and its
implications, Sonic Installation Art, Installation Art, Space, Spirituality and Ritual; (2) Sonic Diary entries, which are musical compositions based upon images that represent different characteristics of Domesticity. The Sonic Diary compositions are named ‘Doms’, lasting between 1-2 minutes each, with ten Doms being used as the sonic contribution to be installed throughout the research; (3) Three comparative case studies looking at the works of Bill Viola, Do Ho Suh and Tsukimi Ayano and the way in which they articulate Domesticity, Space, Spirituality and Ritual through their praxis; (4) Autoethnographic analysis of the Sonic Diary and Installations to draw findings; (5) A series of pilot Installations using Spaces and installing the Doms as a research journey to evidence the Repatriation process; (6) Exhibition Finding Home and Thesis to articulate findings. The Exhibition Finding Home and Thesis demonstrate Repatriated Domesticity which is the point of animation occurring when the person (i.e., artist, viewer, audience) engages with/enters into the intangible circular sphere between Poise and Void, which leaves the viewer with a space to internally reflect on your position between Poise and Void. That is a significant exchange from Domesticity being the everyday physical objects, roles or activities such as chairs, gender or washing up. Significantly, the situating of my practice, away from the feminist critique in particular, allows for the Finding Home Collection that is, a reimagined Last Supper in 1:10 scale models with accompanying exhibition catalogue.