From the conviction that artistic practise is, in a deep sense, investigation, this exhibition is about its relationship to teaching. It is about the search for a balanced way to articulate the discursive and the material; it is about making art while speaking or writing about it without renderning it banal or attempting to exhaust the meaning of producing and what is produced; without intending to justify it solely through the ineffable nature of the material.
As a possible means of resolving this, I propose transduction as a methodological resource for making the passage from the studio into the classroom a natural, effective movement. Transduction is then seen as an exemplary resource for supporting artistic discovery without the need to analyse or explain it while making full use of it.
The most important contribution of this exhibition is that here, transduction is not seen merely as an object for speculation and analysis, but as the way in which the exhibition has grown and taken shape. These texts were written while the paintings were being made and the exhibition environment designed, in different styles (summary, theoretical reflection, manifesto). The relationship between text and image is not exactly the habitual relationship between work and its representation, but is constructive and structural in the sense that I have attempted to form the exhibition as a work in itself.
I consider this exhibition to be of interest to anyone preoccupied with art education as a practice.