ABSTRACT
Art can and should be a touching experience. Standing in front of a painting, appreciating a sculpture, or walking through a building, even if reader are not permitted to physically touch the work they should at least be touched by it. From the position of thinking with eyes and hands in terms of geometry, they now proceed toward a more explicitly haptic manner of speaking, the consideration of a ‘haptic aesthetics’. From the active touching, reaching out and measuring of space, they consider how they become touched and affected by things through artworks. A conceit offers itself, a way to bind the haptic fragments through a variety of artistic forms: that of an ivory statue progressively coming to life. The ambiguity of touching as feeling, of touch as reaching out or as being affected, will effectively bind together touch and affect throughout.
