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[Documentation for Master of Fine Arts course]

Paulson, David 1984 , '[Documentation for Master of Fine Arts course]', Unspecified thesis, University of Tasmania.

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In my first year of studio practice as a Master of
Pine Arts candidate I attempted to come to terms with the
limitations of painting as I saw it at that time, having
been dogged by the disturbing notion I was on a painting
"treadmill" and not being prepared to settle for the
constant rearrangement of selected images within the formal
boundaries of the canvas which has persistently remained,
remorselessly flat. I will not discuss the semantics of
where does painting stop and sculpture begin, but rather,
how difficult it has been to move away from the canvas,
lured by the fascination of a multitude of methods and
materials, and an energy requiring some satisfaction with
this confrontation.
With hindsight, at the end of the second year, I can
see how timid my first steps were: to move "into the round,
off into space". Daunted by the task and not having my
brush to support me.
I make no apologies for my fascination fat techniques,
methods or materials, and how wonderful it was to avail
myself of the splendid printmaking facilities, plastics
workshop and the exhilaration of being able to "draw" a
huon-pine hand or foot with a band-saw.
Since the writing of my original course proposal
(Sept. 1982) my concerns for a view of Australian life have
not changed, but the issues have certainly altered. My
desire to express a consciousness affected by disturbing
private experiences and, at the same time, public experiences
felt as personal, still remains the positive
force in my art making process.
The discovery of a sense of play or chance resulting
in a less self-conscious approach (as is evident in more
formal application of ideas or assertion of methods) has
no doubt transposed the restrictive attitudes allied to
such procedures as mould making, for example.
I foresee an extension of this attitude towards my
work and a more satisfying result to be achieved with
composite assemblage and colour, where the risk factor is
Midnight wrestling contests with theoretical issues
have been personally rewarding. Firstly, through a
study of the "Australian Ethos", underpinning my image
making. Secondly, a study of more universal theoretical
concepts underlying our social constructs.
It has been a most interesting and stimulating
journey of discovery from Henry Lawson, Banjo Paterson and
the Queensland bush, through to Freud, Marcuse, Adorno, and
the infamous studio conditions of the Jones & Co. building.
I look to the future with anticipation and a desire
for more humour, knowing I have benefited immensely from
this two year experience.

Item Type: Thesis - Unspecified
Authors/Creators:Paulson, David
Copyright Holders: The Author
Copyright Information:

Copyright 1984 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:

Thesis (M.F.A.)--University of Tasmania, 1985. Includes bibliographical references

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