Elle Nudd

As a student of both art and design, my practice explores the ways in which material investigations respond to Julia Kristeva’s theory of ‘The Power of Abjection’ - a two-sided coin, where desire and revulsion are constantly in play. My material investigation explores the properties of silicone, oil paint, wire and nylon fabric. I compose my work in such a way that results in a hybrid object, between painting, sculpture, and installation, as a means of heightening the experience of abjection.  

Kristeva summarises abjection as ‘the in-between, the ambiguous, and the composite,’ she states, that the abject can be understood through several primary experiences: the subjects’ relations to food, the body and death. These experiences test the boundary between the self and the not-self. The form of my work intends to highlight these experiences; experiences that we find ourselves constantly trying to avoid. My practice focuses on the human body, its orifices along with the bodily fluids that inhabit such spaces.  

In addition to the theories of Julia Kristeva, my practice is influenced by contemporary artists, Kiki Smith, particularly, her series of visceral bodies, Mona Hatoum’s compelling installation piece, ‘Corps Étranger,’ and the metaphorical works of Teresa Margolles. The feeling of abjection is universal, yet it is still a topic that we seldom speak about. In the past forty years, contemporary fine artists have taken it upon themselves to provide a safe space of education and understanding; a space to confronting their viewers with their abject art.
My other projects