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The creation of the Gingerbread House installation is both the outcome and a contribution to the research surrounding the arts' ability to disrupt the hidden curriculum in schools. It is intended to be a fully immersive exhibition, where viewers become part of the art work, which hopefully results in them being able to more deeply consider the ideas that the work explores.  Explanation of the creative practice, its origins, research, methodologies, and creative and literature reviews can be found in the project's exegesis.

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The artwork incorporates both two and three dimensional work, using a method I have named 'marinage' a word which combines the term 'bricolage' (using objects at hand) and 'marinade' (a process designed to improve the flavour of food). Consequently, the artwork is created by drawing from a large collection of objects, materials and processes that are encompassed within my studio. The project has revealed that this process of 'collection' is an important part of the creative process. The creative practice emerging from this project, builds on that of previous projects and exhibitions, clarifying and contributing to further and new understandings of fairy tales, feminism, and metaphysical qualities of objects, the hidden curriculum and education, materials and visual art. 

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References:

Haseman, B. (2006). A manifesto for performative research. Media International Australia incorporating Culture and Policy, 118(1), 98-106.

Leavy, P. (2009). Method Meets Art. New York: The Guilford Press.