Please visit my new website for up-to-date work: www.poppyjoneslittle.com
Studying BA Fine Art (International) at the University of Leeds, UK.
In reading Theodore Scaltsas’ account of Aristotle’s Theory of Substratum I encountered the term ‘lumphood.’ Scaltsas provided no further insight into this term. Over the past year I have been scouring various discourses and texts which also utilise the word ‘lump’. From Marx’s lumpenproletariat, to Virginia Woolf’s short stories, a ‘lump’ refuses concise classification.
‘Thing’, ‘specimen’, ‘artefact’ […] all share common ground in that they all refer to selected lumps of the physical world to which cultural value has been ascribed. What distinguishes the ‘discrete lumps’ from the rest is the cultural value it is given […] it is the act of selection which turns part of the natural world into a museum piece.’
Susan M. Pearce, ‘Museum Objects’ in Museum, Objects and Collections: A Cultural Study, (Washington D.C: Smithsonian Institution Press, 1993), p.4-5.
Often understood as an indiscriminate piece of solid matter, I have come to realise that this term often acts as a placeholder. A word that is used when the right word cannot be recalled. Lumps are not the same as ‘things’ or ‘objects’, they occupy as space somewhere within latency or excess.
Both former and current affairs demonstrate the severe ramifications of ‘lumping’ people together, whether on account of race, religion, sexuality etc. The damage caused by promoting generalisations is universally acknowledged, yet it seems that our awareness of this hardly lessens it’s presence and impact.
This research fuels my making; materiality is at the core of my work as I make lumps using discarded materials, often incorporating laborious processes. It is only recently that analogue and digital photography have began acting as mediators for my pieces.