Bridgette Ashton artist.

This is a lucky find. I was thinking of making an inuet map of my kitchen out of cake, but was beginning to think it was a very off the wall idea, as it cant be picked up and handled. Now as I have found this it has encouraged me to take my idea forward, as someone else has mapped thing out of food.

England Biscuit (2010) Project I Dream of Europe.


Gingerbread Traffic Jam (2008)

Bridgette Ashton & Nicole Mollett

'Ashton & Mollett reinvent the hardtack ship's biscuit as an ornately embossed edible artwork depicting the fate of the Golden Hinde. From circumnavigator to decaying Deptford eatery to souvenir chair.

Audiences are invited to a "Make & Bake" performance at the Creekside Centre on 1st Oct 1-3pm.

Deptford X 2011 Main Programme'

http://www.bridgetteashton.co.uk/currentprojects.html

(Accessesed on 29/11/11 at 11:23)

Maps of Meaning

Jackson, p., (1992) Maps of Meaning, London:Routledge.

"Maps of Meaning" refers to the way we make sence of the world, rendering our geographhical experience intelligible, attaching value to the environment and investing the material world with symbolic significance.

page x
Human impact on the face of the Earth has become ever more insistent - we have no choice but to enlarge the geographical imagination.

page 2
Cultire is 'the way the social relations of a group are structured and shaped, but it is also the way those shapes are experienced, understood and interpreted.

p. 106.
Perhaps the most fundamental contribution of feminism to social theory has been the recognition that gender divisions (including so-called 'masculine' and 'feminine' personality traits) are socially constructed...Restraints formerly placed on women's actions...have increasingly been shown to have their roots in political and economic relations rather than in the laws of biology.

Inuit Wood Maps

In 2000 Kalaallit Nunaat (Greenland) issued a stamp with a wooden map as a part of the Cultural Heritage series:

“...wood was, and is, the most distinctive medium used by the Greenland Eskimos in mapmaking. Blocks are carved in relief to represent the rugged coastline of Greenland with its fjords, islands, nunataks and glaciers, the shapes of the various islands being linked together with rods. In order to reduce the size of the blocks, the outline of the coast is carried up one side and down the other.”

Leo Bagrow, History of Cartography. Revised and enlarged by R.A. Skelton. Cambridge, Harvard U. Press, 1960, p. 27.



Three-dimensional maps of coastlines were carved of wood as long as three hundred years ago. These Inuit charts were usually carved from driftwood and are made to be felt rather than looked at. The Inuit hold this map under their mittens and feel the contours with their fingers to discern patterns in the coastline. The land is very abstract. It is limited to “edges” that can be felt on a dark night in a kayak. Since they are made of wood they are impervious to the weather, and will float if they are dropped overboard accidentally. It will also last longer that one that is printed.

http://spacecollective.org/mslima/3220/Inuit-Wood-Maps

Cake art by Russian baker Zhanna.

Unknown., (2009) Cake Art – The tasty side of design. [online] Available at: http://www.crazyleafdesign.com/blog/cake-art-the-tasty-side-of-design

The Everyday

Johnstone, s., (2008), The Everyday, London: Whitechaple & The MIT Press.
p70
it is in the space of the everyday, Marx claimed, that the workers self worth is possible. in this space, the fragments of the social world can be integrated with the essence of identity.

p81
how often is the particularity of the everyday lost as it is transformed in the process of description and interpretation?
the everyday represents an impossibly evasive terrain: to attend it is to loose it, or as Blanchot writes: 'we cannot help but miss it if we seek it through knowledge, for it belongs to a region where there is still nothing to know'
p68
the relationship between art and life is never straightforward or transparent. what cannot be denied, however, is the need for the artist to atart from the materiality of both art practice and experience.
p69
to consider art from the perspective of the everyday is to stress that the measure of art is not found by borrowing the yardsticks of other discourses, but rather from its articulation and practices within everyday life.
from'art and the everyday' there is but an indistinguishable step to the 'art of living'.
p70
a theory of the everyday is thus located in the in between spaces, the margins and disjunctive zones of the social.

paperwork

Clark,p., (2009), Paperwork, London: Black Dog Publishing Limited.

Paper collage, used / found printed paper, subjects are animals (dogs), and clothing.

Tuan, Y., (1990) Topophilia, A Study of Environmental Perception, Attitudes, and Values. Nee York, Columbia UniversitPress.

page 1
With out self-understanding we cannot hope for enduring solutions to environmental problems, which are fundamentally human problems. And human problems ...... hinge on the psycholohical pole of motivation.

p.53
Has the female a characteristic way of structuring the world that is different from the male?

In every known culture , male and female are assigned distinctive roles; they are taught in childhood to behave in differing ways, .... Dolls and guns.

p.55
When a girl designs an environment, it is usually that of a house interior, ..... in a girl's scene, people and animals are mostly within such an interior or enclosure, and they are primarily .. in a static position. Why static>

Along with tall structures boys play with the idea of collapse; ruins are exclusively male constructions. Does this include decay?

p99
A man's belongings are an extension of his personality; to be deprived of them is to diminish, ...his worth as a human being. Capitalism, ...a person in the process of time invests bits of his emotional life in his home, and beyond the home in his neighborhood. ...which in its familiarity protects the human being from the bewilderment of the outside world