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More minimal conditions for painting


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Haddon, N 2002 , 'More minimal conditions for painting', Research Master thesis, University of Tasmania.

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The grid, pristine industrial materials, systems, the monochrome -
these are some of the more recognisable characteristics of Minimal
art. These characteristics are used, or more correctly misused, in
this project in such a way as to question the values commonly
attributed to them; to insert evidence of use and the seed of doubt.
The realities of the everyday — the wear and tear of use —
are contradictory to the supposedly pure values of Minimalism.
The project proposes that when methodologies derived from these
realities are applied to and extended within abstract geometric
minimal painting it can be re-aligned with that everyday
experience rather than being seen as aloof from it.
To achieve this a new model for abstract painting is
proposed; one that recoils from simply pursuing 'more of the
same'. This new model might then be seen to articulate the
uncertainties that the perceived model of Minimalism excludes.
This articulation relies on the new model being conversant with
'human fallibility' and the blemishes of the real world. These issues
were investigated in a studio based practice which produced a large
body of paintings.
The project shows that a clash of values; on the one hand
the supposedly idealised and untainted, on the other the scuffed
corners and uncertainties of the real world, positioned in the one
body of work, yields a very different kind of abstraction from that
handed down from the mid 60's. It is a kind of abstraction which
acknowledges and accepts its place within a world of other things;
that is not divorced from that world. It finds affinity with an
imperfect world of blemishes and mistakes whilst maintaining that
within all of this there is still room for the blank space of
Ultimately the conclusion of this project, if it is to challenge
the view of Minimalism as sealed within its own pristine
constructions, must remain open. Its proposal is to open up a
model of geometric abstraction which has come to be seen, rightly
or wrongly, as closed and impervious. The project necessarily
raises doubts but it does so by proposing that such is life, and that
there is room for a kind of geometric abstract painting that finds
itself at home here.

Item Type: Thesis - Research Master
Authors/Creators:Haddon, N
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Copyright 2002 the Author - The University is continuing to endeavour to trace the copyright owner(s) and in the meantime this item has been reproduced here in good faith. We would be pleased to hear from the copyright owner(s).

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