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Migratory Aesthetics: Heterochrony as painting


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Haddon, N ORCID: 0000-0002-4523-7808 2018 , Migratory Aesthetics: Heterochrony as painting. University of Tasmania.

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This body of paintings presents a disjunctive, seemingly haphazard array of pictorial references that are derived from multiple historic periods. This includes an image of HG Wells on a bicycle, a placard holding Bible salesman circa 1890, an engraving of a recumbent Eve in the Garden of Eden and the imaginary future ruins of London. This assortment of subjects is complimented by a set of different painting techniques which include commercial digital printing on spray painted grounds, refined hand painted detail and loosely expressive gesture. Whilst these divergent depictions create a turbulent, non-linear temporal dimension they are nonetheless held together in a field of highly saturated, unworldly colour. The differing historic imagery combined with a wide variety of material application offers an alternative view of how the time of migrant experience (Bal’s ‘heterochrony’) might be rendered on the stationary, flat surfaces of painting.

Item Type: Creative Works
Authors/Creators:Haddon, N
Keywords: Tasmanian painting, migratory aesthetics, Tasmanian landscape painting
Publisher: University of Tasmania
Copyright Information:

Copyright 2018 Neil Haddon

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