Academic literature on the topic 'Mixed media painting Australia'

Abstract The field of bioaesthetics seeks to understand how modern humans may have first developed art appreciation and is informed by considering a broad range of fields including painting, sculpture, music and the built environment. In recent times there has been a diverse range of art and communication media representing bees, and such work is often linked to growing concerns about potential bee declines due to a variety of factors including natural habitat fragmentation, climate change, and pesticide use in agriculture. We take a broad view of human art representations of bees to ask if the current interest in artistic representations of bees is evidenced throughout history, and in different regions of the world prior to globalisation. We observe from the earliest records of human representations in cave art over 8,000 years old through to ancient Egyptian carvings of bees and hieroglyphics, that humans have had a long-term relationship with bees especially due to the benefits of honey, wax, and crop pollination. The relationship between humans and bees frequently links to religious and spiritual representations in different parts of the world from Australia to Europe, South America and Asia. Art mediums have frequently included the visual and musical, thus showing evidence of being deeply rooted in how different people around the world perceive and relate to bees in nature through creative practice. In modern times, artistic representations extend to installation arts, mixed-media, and the moving image. Through the examination of the diverse inclusion of bees in human culture and art, we show that there are links between the functional benefits of associating with bees, including sourcing sweet-tasting nutritious food that could have acted, we suggest, to condition positive responses in the brain, leading to the development of an aesthetic appreciation of work representing bees.

Anthony Tapies is both an explorer of mixed media painting and a leader of informal painting. He is passionate about the exploration of materials and is committed to bringing them to life. Tapies has always believed that specific materials and their principles coordinate with each other, which successfully changed the visual understanding and aesthetic concept of modern art. Although the materials used in Tapies paintings are all collected from common stuffs, he still insists on screening different painting materials and striving to expand new aesthetic dimensions from the materials, so as to achieve better artistic effects. This paper deduces the inner principles of the material by summarizing the material, and explores Tapies mixed media style through sorting and summarizing his unique mixed media.

This research is qualitative descriptive research aimed to describe: (1) strategy used by lecturers in developing creative imagination of students of Art Education Study Program of Faculty of Arts and Design of Universitas Negeri Makassar through Development of Mixedmedia painting; (2) understanding of students in realizing mixed media painting. Population and sample in this research were all works made by students participating in the painting III courses in Art Education Program in the odd semester of the academic year 2015/2016. The object in this research was the work result of student experimentation in the task of Artist III course, there were 40 works to be analyzed. The technique of data collection was done through observation using observation format, documentation of work, and limited interview. The collected data was analyzed by descriptive-qualitative analysis technique. The results showed that: (1) the students' creative imagination can be fostered through gradually mixed media painting tasks; (2) generally, the students of Art Painting III have a good understanding of creating mixed painting with media utilizing various mixed materials.

Mixed Media developments in the manufacture of paintings at the Museum Rudy Isbandi has evolved with new innovations to be able to attract the attention of visitors. Utilization of used goods for Mixed Media painting techniques as an alternative of making the painting a positive impact on the environment even though not all of the junk could dimanfaatakn to be a painting that transform media and creative. The use of second-hand goods can produce works of art that manifold visual and 3-dimensional character who is able to make the artists are interested in collecting. The facilities provided by the Museum Rudy Isbandi not been standardized to make visitors comfortable. Keywords: Rudy Isbndi Museum, Development of Mixed Media, Utilization of thrift, appeal used goods

Natalie Beausoleil presents Visual Ethnography: Two photographs of her own mixed media artwork. The first painting depicts struggles with body images amidst negative social messages. The second painting illustrates acceptance of her body.

Differential exclusion of vertebrates and invertebrates from the inflorescences of Banksia media R.Br. on the south coast of Western Australia showed the species to be partially self-compatible. Access by invertebrates increased fruit set and additional access by vertebrates resulted in even greater fruit set. Honeyeater birds and marsupial nectarivores were abundant and widespread in the study area and most carried the pollen of Banksia media while it flowered. However, although B. media had the floral characteristics attributed to vertebrate pollination, self-pollination and pollination by insects clearly also play major roles in seed production. Banksia media regenerates solely from seed released after fire and we suggest that its mixed mating strategy is a compromise between inbreeding depression and risk of elimination from areas prone to occasional fires.

My artwork is inspired by philosophical questions and personal experiences that are prompted from the colors and textures of weathered and worn metal, the changing scenery of the landscape, or from the recollections of childhood memories. The sum of these inspirations are unified by the concepts of growth and change, my own and that of the body of work. The translation of my experiences provides the opportunity to discover new variations in theme, process, and media. For example, monotype printmaking allows me to present the often overlooked beauty of metal eroding, revealing its story layer by layer. Digital photography encourages me to revisit the places of my childhood and consider the effects of the passing years. Painting provides a playground for the exploration of line, shape, texture, and color in a symbolic and nonobjective manner.

The creative project was the end result of a year of focused exploration and development in the areas of painting and drawing. The artist created a group of five oil paintings and four mixed media drawings which culminated her year of work. The pieces were exhibited on Ball State University campus as well as being documented and evaluated in a thesis paper.A strong belief in the importance of the ability to pursue an idea or concept to its furthest point led the artist to set the goals of the project. While working on the project, the artist honed her technical skills, and strengthened her personal aesthetic by her discovery and research of painters who based their work in similar beliefs.The accomplishment of the goals she had set forth was the first step on the artist's journey to becoming a professional, exhibiting artist.
Department of Art

My work investigates both the objective and the subjective nature of my intimate relationship with nature. I explore my embrace of both art and science, the realistic and the abstract in my search for the immanence of goodness in creation. From a grain of pollen to a beautiful blossom to a decaying pod, the natural world celebrates life’s insistence on recreating itself. All around me, nature is quietly dancing to a peaceful song of restoration and balance that offers me hope of a continuance and beauty in spite of the neglect I sometimes offer in return. My recent work, in paintings, prints, and mixed media, features the unassuming forms of plants from backyard gardens and neighborhood walks, both those that are cultivated and those that spring up as weeds.

My paintings are a combination of transparent images merged with paint and wax. As each piece of art develops, the process is the same. The beginning relies on memory or some connection to my past. Then, the progression evolves through a symbolic infancy with an emerging learning experience, which ultimately transforms into a creative piece, along the road less traveled…to the journey’s end. The transparency comes from the image transfer process, which produces a “ghostly” or antique image due to the deteriorated effect of the image in the transfer. The photographic transfers suggest the image without being so bold as to dominate the overall piece of artwork. The encaustic medium that I use to create the surfaces in my work allows me to explore the features of a sculptural medium. I am able to carve into, apply texture, and build up relief on the surface of each piece. The paint hidden in the crevices or layered on the surface adds emphasis and creates focal points in the painting.

My work on canvas and in jewelry focuses on the tension between the hard edges of geometric shape and soft lines of organic form. Light plays an important part in the viewing of these opposing forms. It reflects off the shapes and textures creating sharp contrasts and enhancing the individual sections as they relate to the whole. In my paintings, I set organic floral forms against geometric architectural structures. I create texture and contrast by adding digitally enhanced transfers, torn paper, and acrylic putty. In my jewelry, I also set organic forms against geometric shapes, by adding stone, wire, and various types of metal to the raised surfaces. The different textures in both of my focus areas attract and reflect light, allowing the look and character of the piece to change as the light changes.

Artist Statement Creativity is one of my strongest talents. As a visual person, I understand and interpret the world through observation and analysis. Nature intrigues me. I find it awe inspiring how the natural environment can change so dramatically day-to-day. As a result, I record my experiences and memories of landscapes and seascapes. My areas of interest are painting and computers in the arts. I am an abstract painter and my media consists of acrylic, watercolor, mixed media, and digital imagery. I create low relief and rough textures with added materials, and develop layers of paint with a palette knife. In addition, I layer gel medium transfers using my own photographs. Color is important in my work and encapsulates and expresses my feelings and memories. I use subtle color washes and add small amounts of bold color to create contrasts. This approach to coloration allows me to explore unexpected and unique combinations. I use color symbolically, such as a muted blue to display a calm and relaxed feeling that I get from experiencing nature. This also mimics the essence of sky and water. My goal is to capture the viewers’ attention and show them my response to nature in hopes that they will relate it to their own experiences.

Since childhood, my passion to create has driven me to search for the simplest truths within the world I live in. Throwbacks of pop culture have always decorated my life and their influences are directly reflected in my work. The nightly news, advertisements, pulp magazines, film, and music all play an extremely important role in my work as each influence becomes a layer of spirit and emotion in my mixed media paintings and photography. It’s those ordinary and mundane gifts that I find in each normal day that spill the truth and the essence of my life into my art. Popular culture has always filled my life with vivacity, passion, and a yearning for creativity. Admittedly, I’ve long been an artist that gets lost in the contemporary message of my work. I do after all own it and somewhere in my creative mind the process of creation and the object as art become my unified gospel in a sacred delivery and message. I absorb my surroundings, dissect it, rearrange it, and spit it back out to the world as a reinterpretation of the original, and on occasion transform it into something totally original within itself.

This chapter turns to Graham’s fascination in the visual, from his use of metaphor and depiction of the poet’s image-making capacity, through to his ekphrastic poems and his own visual oeuvre: drawings, watercolours, calligraphic copies of poems, and mixed-media work. It starts by noting a tension in Graham’s understanding of painting, between the ‘painting hand’ and the ‘painting I (eye)’: that is, between plasticity and vision, before tracking tropes of the eye, of seeing and envisioning, and of the visual field, and noting Graham’s regular play on the echo of ‘disguise’ in the verb ‘disclose’. Sight is also integral to the face to face encounters of communication, and in discussions of Graham’s ekphrastic poems, and poems about constructing visual artworks, the chapter looks at how the gaze operates as a mode both of communication and of power: the artist’s seeing both ‘releases’ them into another’s experience, and objectifies that experience, and thus risks imprisoning both the seeing and the seen within its art.

The professional use of civilian drones involves training in air safety and law set by aviation authorities, like CASA, which modified its laws, licences, and procedures in 2016. By 2019 media producers in countries like the UK, Australia, and the US, had used drones for almost a decade. Amidst the rules and deterrents, there are mixed benefits in using drones for news media. Prior to 2015 drone training in Australia began with PPL (Private Pilot’s Licence) theory, followed by an alternative pathway of a RePL (Remote Pilot’s Licence). The firsthand experiences of PPL training and subsequent training covers many aviation topics, from flight controllers to OzRunway apps. Beyond training, recent tech trends include networks for drones and swarm systems already used in the US and Korea. However, tracking and registration systems are only just emerging in Australia and drones, regarded as disruptive technologies in the UK, are complicated by Brexit.

This case study examined the effectiveness and significance of the Internet and interactive video broadcasting as instructional and communication media in a global virtual learning system. The study explored how differences in students’ technology experiences, curriculum, cultures, and access to technology influence learning and student attitude in a technology-based distance education environment. The research also investigated whether the use of online references and materials is adequate and appropriate for successful distance learning. The setting was a virtual campus that linked universities in the U.S., Australia, and Canada with learning centers in different African countries. E-mail and face-to-face interviews, observations, and Web-based surveys were utilized to collect the data. The study reveals that students had mixed perceptions about the effectiveness of technology, with positive attitudes exhibited towards interactive video and some anxiety and dissatisfaction with the use of the Internet.

This paper reports on a jointly organized exploration by researchers from four countries (Brazil, Australia, South Africa, Israel) concerning teachers’ perceptions about statistics and mathematics content in print and digital media regarding COVID-19 (coronavirus) issues and its possible impact on future statistics education. The study involves a mixed-methods, multiple case-study design, with an online survey followed by focus groups. Preliminary and selected results are reported, highlighting teachers' views of new topics that should be added to the curriculum, teachers' perceived autonomy to make changes, tensions regarding teaching methods that can be used to implement new needed content, and more. The study has numerous implications regarding the link between curricula, school-level processes, teaching practices, and new societal needs for statistics and mathematics knowledge.

Background Australia is a multi-cultural society with increasing rates of people from culturally and linguistically diverse (CALD) backgrounds. On average, CALD groups have higher rates of tobacco use, lower participation in cancer screening programs, and poorer health outcomes than the general Australian population. Lower cancer screening and smoking cessation rates are due to differing cultural norms, health-related attitudes, and beliefs, and language barriers. Interventions can help address these potential barriers and increase tobacco cessation and cancer screening rates among CALD groups. Cancer Council NSW (CCNSW) aims to reduce the impact of cancer and improve cancer outcomes for priority populations including CALD communities. In line with this objective, CCNSW commissioned this rapid review of interventions implemented in Australia and comparable countries. Review questions This review aimed to address the following specific questions: Question 1 (Q1): What smoking cessation interventions have been proven effective in reducing or preventing smoking among culturally and linguistically diverse communities? Question 2 (Q2): What screening interventions have proven effective in increasing participation in population cancer screening programs among culturally and linguistically diverse populations? This review focused on Chinese-, Vietnamese- and Arabic-speaking people as they are the largest CALD groups in Australia and have high rates of tobacco use and poor screening adherence in NSW. Summary of methods An extensive search of peer-reviewed and grey literature published between January 2013-March 2022 identified 19 eligible studies for inclusion in the Q1 review and 49 studies for the Q2 review. The National Health and Medical Research Council (NHMRC) Levels of Evidence and Joanna Briggs Institute’s (JBI) Critical Appraisal Tools were used to assess the robustness and quality of the included studies, respectively. Key findings Findings are reported by components of an intervention overall and for each CALD group. By understanding the effectiveness of individual components, results will demonstrate key building blocks of an effective intervention. Question 1: What smoking cessation interventions have been proven effective in reducing or preventing smoking among culturally and linguistically diverse communities? Thirteen of the 19 studies were Level IV (L4) evidence, four were Level III (L3), one was Level II (L2), none were L1 (highest level of evidence) and one study’s evidence level was unable to be determined. The quality of included studies varied. Fifteen tobacco cessation intervention components were included, with most interventions involving at least three components (range 2-6). Written information (14 studies), and education sessions (10 studies) were the most common components included in an intervention. Eight of the 15 intervention components explored had promising evidence for use with Chinese-speaking participants (written information, education sessions, visual information, counselling, involving a family member or friend, nicotine replacement therapy, branded merchandise, and mobile messaging). Another two components (media campaign and telephone follow-up) had evidence aggregated across CALD groups (i.e., results for Chinese-speaking participants were combined with other CALD group(s)). No intervention component was deemed of sufficient evidence for use with Vietnamese-speaking participants and four intervention components had aggregated evidence (written information, education sessions, counselling, nicotine replacement therapy). Counselling was the only intervention component to have promising evidence for use with Arabic-speaking participants and one had mixed evidence (written information). Question 2: What screening interventions have proven effective in increasing participation in population cancer screening programs among culturally and linguistically diverse populations? Two of the 49 studies were Level I (L1) evidence, 13 L2, seven L3, 25 L4 and two studies’ level of evidence was unable to be determined. Eighteen intervention components were assessed with most interventions involving 3-4 components (range 1-6). Education sessions (32 studies), written information (23 studies) and patient navigation (10 studies) were the most common components. Seven of the 18 cancer screening intervention components had promising evidence to support their use with Vietnamese-speaking participants (education sessions, written information, patient navigation, visual information, peer/community health worker, counselling, and peer experience). The component, opportunity to be screened (e.g. mailed or handed a bowel screening test), had aggregated evidence regarding its use with Vietnamese-speaking participants. Seven intervention components (education session, written information, visual information, peer/community health worker, opportunity to be screened, counselling, and branded merchandise) also had promising evidence to support their use with Chinese-speaking participants whilst two components had mixed (patient navigation) or aggregated (media campaign) evidence. One intervention component for use with Arabic-speaking participants had promising evidence to support its use (opportunity to be screened) and eight intervention components had mixed or aggregated support (education sessions, written information, patient navigation, visual information, peer/community health worker, peer experience, media campaign, and anatomical models). Gaps in the evidence There were four noteworthy gaps in the evidence: 1. No systematic review was captured for Q1, and only two studies were randomised controlled trials. Much of the evidence is therefore based on lower level study designs, with risk of bias. 2. Many studies provided inadequate detail regarding their intervention design which impacts both the quality appraisal and how mixed finding results can be interpreted. 3. Several intervention components were found to have supportive evidence available only at the aggregate level. Further research is warranted to determine the interventions effectiveness with the individual CALD participant group only. 4. The evidence regarding the effectiveness of certain intervention components were either unknown (no studies) or insufficient (only one study) across CALD groups. This was the predominately the case for Arabic-speaking participants for both Q1 and Q2, and for Vietnamese-speaking participants for Q1. Further research is therefore warranted. Applicability Most of the intervention components included in this review are applicable for use in the Australian context, and NSW specifically. However, intervention components assessed as having insufficient, mixed, or no evidence require further research. Cancer screening and tobacco cessation interventions targeting Chinese-speaking participants were more common and therefore showed more evidence of effectiveness for the intervention components explored. There was support for cancer screening intervention components targeting Vietnamese-speaking participants but not for tobacco cessation interventions. There were few interventions implemented for Arabic-speaking participants that addressed tobacco cessation and screening adherence. Much of the evidence for Vietnamese and Arabic-speaking participants was further limited by studies co-recruiting multiple CALD groups and reporting aggregate results. Conclusion There is sound evidence for use of a range of intervention components to address tobacco cessation and cancer screening adherence among Chinese-speaking populations, and cancer screening adherence among Vietnamese-speaking populations. Evidence is lacking regarding the effectiveness of tobacco cessation interventions with Vietnamese- and Arabic-speaking participants, and cancer screening interventions for Arabic-speaking participants. More research is required to determine whether components considered effective for use in one CALD group are applicable to other CALD populations.