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Painted pools : a lens into subjectivity

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Norris, DD (2009) Painted pools : a lens into subjectivity. Research Master thesis, University of Tasmania.

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Abstract

This project is an investigation of visual metaphor: specifically, the
metaphorical potential of images of water, from evocations of tranquil river
pools to those of open sea. With imagery that fluctuates and moves from
abstraction into representation, the project aims to present painted images
of water that may induce a reflective or meditative frame of mind in the
viewer, one that is akin to a common response to water itself.
Within this framework the project seeks to convey the relationship
between images of the particular with the universal: how the specificity of
place can possess a universality of meaning and how one's own personal
history can oscillate within this framework.
It is posited that an artist's art practice is driven by a search for meaning,
and in this instance it has been a rite of passage. Paradoxically, however,
this research does not realize solutions to various challenges but is an
expression of these challenges. Such a motivation - this search for
meaning - is essentially subjective.
Since the exegesis necessarily includes a description of the candidate's
own artistic process and interpretation of the work, a commensurately
subjective style of writing has been adopted, one that utilizes the
methodology of hermeneutics. Thus, the project has been directed by a
phenomenological way of knowing.
The project has been shaped by research into other disciplines, such as
anthropology, literature, psychology, philosophy, theology/spirituality and
science. The main art-theoretical context for this project is Romanticism, as both an historical movement and a persistent contemporary orientation.
However, other artists not necessarily aligned to the romantic tradition
have been referenced. Relevant artists are Caspar David Friedrich,
J.M.W. Turner, Edvard Munch, Peter Booth, Jennifer Bartlett, William
Robinson, Pat Steir, and Mark Rothko, while Impressionist Claude Monet's
late images of water have been important references.
Commonly seen to co-exist on the surface of water are reflections of light
from above and beyond, and embedded forms below and within the water.
This dichotomous simultaneity may, it is suggested, be an allegory of our
existence - of love and loss, of life and death. The concept of ocean
waves is a metaphor for consciousness and experience. The body and the
painted object are virtual pools. Thus it is an aim of the research that the
painted images may serve as more than representations of water per se,
that they may been considered to be a result of and as a representation of
memory, experience and consciousness.
The investigation has striven for such a synthesis of surface
representation and inner felt complexity. It has frequently involved thinking
in paint as distinguished from thinking about painting. Using the traditional
field of oil painting and landscape painting, the project has yet sought to
challenge perspectives, serving as a vehicle for stimulating dialogue on
the issues of ecological awareness, interconnectedness and wholeness,
even equating to James Elkins' concept of art-as-alchemy in its power to
effect transformation.

Item Type: Thesis (Research Master)
Keywords: Water in art, Metaphor in art, Subjectivity in art
Copyright Information:

Copyright 2009 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).

Additional Information:

Available for use in the library and copying in accordance with the Copyright Act 1968, as amended. Thesis (MFA)--University of Tasmania, 2009. Includes bibliographical references

Date Deposited: 03 Feb 2015 03:07
Last Modified: 04 Oct 2016 23:10
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