Masculinity & Materiality

Vinayak Garg

Collage 6B1
Liberty: Found Image, Galvanised Steel Mesh (140x85mm)

Masculinity & Materiality explores the author's validation of identity through a development of visual media. Through the collection, collage and curation of found objects and images, the thesis takes a radical stance on irreverent juxtapositions of social and physical aggregations. The body of work aims to propose an alternate methodology of practice that reconciles the boundless and abstract nature of self-positioning with the demands of the built environment. 

The predisposition of dichotomy is a rigid construct that we unjustly yet unknowingly practice. Masculinity's imposition upon society fragments the behaviour of an individual to the verge of self-corruption. However, after this trauma, 'he may learn to exalt himself within this enclosure': Aaron Betsky in 'Queer Space: Architecture and Same-Sex Desire' (1997) conveys that queer men validate their existence towards others who share their taste, and eventually put a show on to the world.

Objectifying the boundaries that institutionalised us, we also can learn to stop expelling our desire or disgust. Instead, we can perhaps expel ourselves, spilling discernable and dimensional communications into our vicinity.

Masculinity & Materiality will inspect, parody and confess upon the virtuosities and controversies of masculinity by intervening in spatial conventions and mediums found in premodern to contemporary frameworks, and discourses that occur within the scope of masculine culture.

The chaotic matters of queer men will be speculated in a customary and unfamiliar edificial setting that questions totality and homogeneity. These matters perform to conceive a series of discrete microcosms that narrate the catharsis an individual may experience as he consummates with his disposition - a sacredly profane disposition that ensues within a gilded cage.

Collages, objects and drawings produced in the thesis act as partial views OR synthesised aggregates of the built environment, reforming queer sexualities and genders. Built upon sliced magazine sheets, abrasive loads of sediment and cold, gleaming hunks of metal, queer experience and identity begin to manifest in shifty, concentric, perverted and alluring systems. These places speculate how the orders of masculinity destabilise, interchange or displace to liberate the queer individual. This transference of paraphernalia or tchotchkes into a masculine allegory also reconciles the identity of the author within his practice where he confesses to a newly fabricated presence of intangible, alternative or inverted worlds.

Collage 6A1

"On Oct. 11, 1987, the second National March on Washington for Gay and Lesbian Rights drew perhaps 500,000 people. The Names Project AIDS Memorial Quilt was unfolded at dawn, with 1,920 individual panels, just a small fraction of the more than 20,000 Americans who had already lost their lives to AIDS. Later that day, fellow organizer Mike Smith and I stood in a cherry picker 20 feet above the ground and watched as people made their way along the canvas walkway grid that contained the quilt panels. Only the reading of the names and the sound of people weeping broke the silence around us. We were exhausted and overwhelmed by the beauty of the quilt and the horror it represented. It was my 33rd birthday."

— Cleve Jones, founder of the AIDS Memorial Quilt

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FLOTVX2AB3MR4E: Found Newsprint, Recreational Inhalant Packaging (340x190mm)
Collage 4 1W
Between The Sheets | Are we there yet Heliodorus?: Found magazine print on MDF (365x145mm)
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Manclosures Disclosed: Assisted Readymades (50-170mm diameter)
Scalloped 2
The Cave of Initiation: Digital Collage (200x250mm)
Cover Landscape