During my MA studies at Falmouth University, I devoted a significant portion of my time to the woodwork studio. Here, I not only acquired new skills but also fostered meaningful relationships with the technicians.
Through this journey, I gradually realized the influence that my interactions with the technicians had on my work. Their guidance transcended mere technical instruction; it affected the theme of my work. Song lyrics found their way into the titles of my pieces, and shared values emerged naturally. We uncovered common experiences; for example, each technician had worked with individuals facing severe learning disabilities, mirroring my own encounters with autistic children in educational settings.
It's worth noting that most of these technicians were middle-aged males, while I, a 25-year-old woman, stood in contrast. This dynamic added depth to our exchanges and enriched the mentorship experience, echoing the relational aesthetics theory proposed by Nicolas Bourriaud (1998 Bourriaud). Bourriaud emphasizes the importance of human interactions and social context in contemporary art, a notion that Ty resonates deeply with my own experience in the woodwork studio.
Craft served as a bridge, breaking down intergenerational barriers and facilitating the formation of meaningful relationships.
