AbstractProcessual Slippage: An Exploration of a Painting Project Making Itself, considers a new paradigm for hybrid painting practices within the context of twentieth and early twenty first century art discourse surrounding installation and sculptural expansions of the painting medium. I will explore through this thesis how painting has become a discipline no longer needing to validate its pre-modernist analogue status and how it has now found its unique visual language in a position of offering new methods of looking and understanding materiality in the digital age through old practices and traditions.
I have broken down the research into three key areas which have all been tested and informed from the practice element of the research in supporting the new knowledge within this written thesis. One: a historical contextualisation of how hybrid painting developed from doubt and a method of making-itself significantly since 1949. Two: I have established a framework for how this method of hybrid painting could fall into a category for a processual art, and finally three: I have developed a theory as to how painting visualises methods of making-itself in the form of material slippage.
Importantly, I will demonstrate how my research question: how can an artwork/painting make itself? has evolved through the exploration, testing and reflecting upon and through the practice methodology. I have endeavored to both visualise and contextualise the practice as equally as possible throughout this thesis by building an artist atlas alongside the written element. To exhibit and make visual methods of slippage and to show how process has evolved and unfolded throughout the research.
|Date of Award||Oct 2019|
|Supervisor||Dougal Mc Kenzie (Supervisor) & Ralf Sander (Supervisor)|
- Expanded painting
- Abstract painting