Marking the passage of time in space
(2017)
author(s): Lucila Nalvarte Maddox
published in: Research Catalogue
This text presents painting as a visual mechanism with which to communicate the otherwise invisible concept of the limitless passage of time in space. To do so, it demonstrates a series of ways through which the mind negotiates with the hand to process painting materials and techniques as part of an attempt to materialise the invisible. Consequently, the act of painting itself becomes both subject and motivating force. This project was first envisioned whilst travelling on a train high up in the Andes. My curiosity, although frightening was well rewarded when suddenly I noticed that the train tracks were not only limitless, but also invisible due to the speed of the train. At that moment, time and space became both eternal and invisible. Elucidating the invisible through sensory and non-sensory perception is not an easy task, for it implicates a conundrum that is no longer exclusively the domain of science but rather that of art and philosophy working in concert.
Painting as satire
(last edited: 2025)
author(s): John Hogan
This exposition is in progress and its share status is: visible to all.
Satire is conceptualised as culturally charge, holding potentially powerful effects and impact. satire as painting provokes critical reflection on authorities, tackles values, dogmas, and taboos, disturbs power relations, and plays with cultural forms and identities. Bad news is seemingly everywhere, the is the place were satire exists. my practice utilises the codes of satire: analogy, parody, subversion, and irony, and realised through graphic elements; signs symbols, and icons, to apportion strength of meaning in my work through the lens of critique and entertainment.
Painting as Discourse
(last edited: 2019)
author(s): Andrew Bracey
This exposition is in progress and its share status is: visible to all.
'Painting-As-Discourse' is a methodology to complement painting practice with a reflection of “on action and in action” (Gray & Malins, 2004, p21) that is central to the research and its findings. Selected individuals (from a range of expertise and levels of knowledge of the author's research) have partaken ‘Painting-As-Discourse’ conversations with Bracey in regard to one body of practice (ReconFigure Paintings), through the course of his PhD. In this way the artistic researcher has been encouraged and challenged about what he is saying verbally about the practice and being encouraged to respond to new readings and possibilities for the research. Each conversations is then used to form an ongoing series of revised statements about the work, following the approach of Elizabeth Price’s ‘Sidekick’ (Price, 2006). Each revised statement is given to the most recent 'Painting-As-Discourse' participant prior to the conversation to act as a spur for the conversation.
Gray, C. and Malins, J. (2004), Visualising Research: A Guide to the Research Process in Art and Design. Ashgate.
Price, E. “Sidekick.” In Thinking Through Art, edited by Macleod, K. & Holdridge, L. (2006), Oxford and New York: Routledge, p122-132.
Satire is conceptualised as culturally charge, holding potentially powerful effects and impact. satire as painting provokes critical reflection on authorities, tackles values, dogmas, and taboos, disturbs power relations, and plays with cultural forms and identities. Bad news is seemingly everywhere, the is the place were satire exists. my practice utilises the codes of satire: analogy, parody, subversion, and irony, and realised through graphic elements; signs symbols, and icons, to apportion strength of meaning in my work through the lens of critique and entertainment.open exposition comments (0)