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Documentation of studio study

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Yee, Peter W (1982) Documentation of studio study. Research Master thesis, University of Tasmania.

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Abstract

I use photographic methods and parts of photographs as a means
of synthesizing images. I sometimes use the whole photograph
as a compositional entity. A camera only makes three distinctions;
one is focus, the second is value (the Zone System,
Ansel Adams and Minor White), and the third is where the camera
puts everything on a two-dimensional surface.
There is a danger of making finished photographs; for one, I
have to be careful that the image is either under-played or
exaggerated in value so that it will allow the completion to
take place in the painting. If the photograph is too good
and can stand as a finished work of art by itself, there is
no reason to make a painting from it. I've always worked
from black and white photographs and I do my own developing
and printing. If you work from colour prints or slides, you're
forced to make decisions more as photographic problems than as painting problems. I found colour prints too restricting;
whether I wanted to or not I was constantly referring back to
the colour print. With colour prints I found I had to work
out all those problems of balance out there or inside with the
camera rather than in the painting.
There are a lot of things you can photograph, in motion for
instance, which make sense as a photograph but which become
false in a painting because painting is essentially a static
art. A photograph often gives the feeling of a particular
moment in time and you get the sense of how that is bracketed
in with the before and after. I like the kind of photograph
that tends to just be; you sense that what came before was
exactly the same as what is shown, and that what comes next
is going to be exactly the same. It is a kind of extension of
time, which is a very traditional aspect of painting.
I try to find and use that particular static quality to advantage
to make something happen that perhaps doesn't happen in
a photograph.
The central problem in the paintings I've done, to me, is a
painting problem and not a subject matter problem. It has to
do with the relationship between the outside world, the
surface of the canvas, and the kind of tension that is set up
between illusionary space and the integrity of the surface of
the canvas. What I've been working on largely is setting up
this kind of tension so that things refer not only to reality
but also back to painting. It adds another element to that
kind of special tension because it raises the question of
whether you are looking at an illusion of objects in space or
a representation of a flat piece of paper (a photograph) which
is in turn a representation of things in space. So when you
add the photograph in there between the things in space and the
painting, the painting begins to flatten out as you think of it
as a photograph and not an illusion of space. It's the
references between what we know, what we see, what we think we
see, and what's there between the surface of the canvas and
the illusion in the canvas.
My paintings and drawings are a result of certain self-imposed
restrictions that I set up for myself. I deal in Personal
things with the concept that the spectator can still relate
to it. I'm not concerned with painting people or with making
social comments. Obviously the limitations I've set will
ultimately affect the subject matter.
Taking the photograph is the first step; the idea occurs and
is involved with the photograph. That is the creation of it
almost, and the drawing is the technique of transmitting the
image. The process I use in drawing is not to validate the
image but rather to comment on the process itself. The concern
I have now is what implications the image has changed due to
the process.
The drawings that I have done are to do with the Zone System
(Ansel Adams and Minor White), where I obtain a value scale
from black to white. In photography the zones are not evenly
spaced. They form three groups of low, middle and high tones.
This is because of the limitations in the process (silver)
itself. This is not the case in drawing, where you can obtain
a gradual physical progression. In some of my black and white
pencil drawings I see colour emerging; either it's an illusion
or it's just my association with the image, I cannot quite pinpoint
it at the moment. In the coloured pencil drawings there
is a distinct quality as opposed to painting the image, almost
a distortion which becomes magic. One of the areas in which I
can extend that process is in Printmaking, namely Lithography,
to what conclusions it remains to be seen.
To make statements of the process of drawing, to talk about
the direct use of the medium, to let the drawing itself lead
to other connotations rather than restricting the image to
communicate to the observer the tactile quality of drawing.
It is not a question of representation; it should evoke
a language on other levels (dialogue).
I find it fascinating and motivating that I can paint or draw
something which is very specific as in the jacket series at
an unidentifiable location which leaves it open to various
interpretations and connotations as an abstract painting.

Item Type: Thesis (Research Master)
Copyright Holders: The Author
Copyright Information:

Copyright 1982 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, 1983

Date Deposited: 04 Feb 2015 23:24
Last Modified: 24 Aug 2016 04:08
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