Everything is Made

“How has the social perception of the ‘creative genius’ changed our relationship with visual culture?”
Everything is Made relates to idea that cultural and artistic products are an outcome of a human process and thus subject to the inherent subjectivity of the individual that makes it. Everything is Made, an extremely general, almost comically naive sounding statement in the light of industrialised, mass-produced, digitised world where anyone can buy, sell, publish, access and provide information and ultimately, do and be anything sounds as obvious as much as it feels understated.

Everything is Made, by who, where, how, with whom?

Contrary to the current era in which creativity has multiple connotations – from a Facebook cover picture change to a gallery opening – the perceived human ability to create is relatively recent to our civilisation as before that creating things was associatied with higher powers. This thesis aims to investigate the different paradigms behind the maker, the agency or entity behind creativity as well as the context in which this process takes place.

As technology progresses so do the materials, processes, outcomes and roles of the products of the creative practice. Organised chronologically yet made of autonomous parts, this thesis highlights the importance of three main developments in the understanding of authorship: printing, industrial and digital technology.

The three chapters focus on different aspects of the creative practice and its perception and as a whole it aims to articulate a series of concerns that address society’s relationship with a culture where the visual is progressively more dominant.