Dissertations / Theses on the topic 'Mixed media painting Australia'
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Miehl, Cheryl A. "Reflections of Maturity." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2581.
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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.
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Christian, Amy J. "Human distillations : the visual and conceptual development of a body of work." Virtual Press, 1988. http://liblink.bsu.edu/uhtbin/catkey/724961.
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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
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Lykins, Victoria L. "Painting in a sculptural manner." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864931.
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Hoen, Laurie. "A Brush With Nature." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2026.
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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.
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Heller, Shawn Earl. "This Art Is For The Birds." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1335.
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Rogish, Tanya. "Time Preserved." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2279.
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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.
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Pearson, Terry. "Angles in Light." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2887.
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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.
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Halliday, Elizabeth. "Memory of a Landscape." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4528.
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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.
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Garbett, Gary. "Insequential Sequence." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2277.
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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.
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Matthews, Kathryn F. "The Art of Adjustment." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1863.
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Ratliff, Marguerite Z. "Love of Nature." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1670.
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Candela, Nicholas. "Beating Back Babylon." VCU Scholars Compass, 2011. http://scholarscompass.vcu.edu/etd/2347.
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My processes and techniques are driven by the need to explore and to understand my own hesitations and convictions about our world. Initially, I began addressing these needs in my artwork using acrylic paint and sandpaper. This led me to investigate a variety of media including ink, transfers, and oil-based paints, as well as different solvents, cleaners, and varnishes, all to create or remove layers. Through this variety of media, I have come to discover that what matters most to me is the physical process of art-making. Each decision I make is done with regard to the additive elements of the media and what may be revealed through the subtractive processes later. Through my artwork, I continue to explore what I can only describe as the faÇades of the world as I see it. My work is often driven by cynicism and derision, and the media and processes I work with allow me to investigate and understand those aspects of our culture which I perceive with suspicion.
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Garvin, Knox III. "Intervals." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1479.
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I prefer to make my work specifically for an exhibition about a place. I'll spend days, sometimes months, exploring this place without preconceptions - walking the roads or trails or fields, falling in love with aspects of the landscape, considering questions the place suggests before I begin to contemplate how to make them into images. The actual making of images helps me to refine thought that is often elusive, contradictory, or enigmatic. Each pinhole photograph, painting, sketchbook, found object, sculpture, or drawing provides its own tools for reflection. Over time, these processes form hundreds of images. Some will begin to call themselves together and somehow suggest a new perspective, a cumulative image that reveals something heretofore unseen about this place, even to me. With these new insights in mind, I begin to cull the images, seeking to draft a sense of place, to part out from complexity a body of work that I hope will allow viewers to contemplate a place through the language of its own images.
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Bishop, Christine Elizabeth. "Light and Life." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1951.
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Mumm, Stacey Elizabeth. "Declaration of interdependence." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/4884.
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Fundamentally, creative endeavors are affected by the personal philosophy of artists which are greatly concerned with their perception and interpretation of life and death. These two concepts form a reality which consists of this dichotomy. As `unity' has been an underlying goal in the work of many artists, it challenges the polarity conveyed in this viewpoint causing contemplation and conversation around the framing of their own existence through their work.
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Riede, Danielle Felice. "Paint Chip Dreams." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/35.
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This thesis summarizes Danielle Riede's current art practice by detailing her materials, processes and inspiration. It also contextualizes her "Room Paintings" within the context of art history and contemporary art-making.
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Furpahs, Ruth. "Emerging Spirits." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd_retro/141.
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Sabbides, Jason. "Float In Float Out." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1435.
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The artist discusses Float In Float Out, his Master of Fine Arts exhibition held at The Slocumb Gallery, East Tennessee State University, Johnson City, Tennessee from March 19, 2012, to March 23, 2012. The work consists of paintings on canvas, panel, and paper and employs a variety of media ranging from traditional materials to spray paint. The painting sizes vary from 20x24 inches up to 48x96 inches and all hang directly on the wall, framed and unframed. Topics discussed in this thesis paper include the influences of the artist's military experience and travelling abroad as well as the influences of alchemy, Freemasonry, and Surrealism. The work is inspired by the concept of a parallel dimension populated by unseen creatures that float in and out of our world. Included are images of the artist's earlier work as well as a completed catalogue of the Float In Float Out exhibition.
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Massie, Rebecca. "Country Views." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1047.
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Over the years I have created many different images and explored a variety of media along my artistic journey. Similar images continue to occur in my work - images from my life as a child and as an adult in rural settings. I lived on a poultry farm and was involved in working with my parents there. When I married, my husband was a cattle farmer so I continued to live on a farm and use rural images in my work. Living in the country makes me constantly aware of the relationship between God, nature and man. I believe that we can find beauty in the most ordinary objects or places. My artwork is intended to help others find this beauty.
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Hopkins, Niamh Marie. "Social media and members of the Thirty-eighth (2008–2012) and Thirty-ninth (2013–2017) Parliaments in Western Australia: A mixed methods study." Thesis, Curtin University, 2021. http://hdl.handle.net/20.500.11937/89252.
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This mixed methods longitudinal study explored the everyday information behaviours of members of the Thirty-eighth (2008–2012) and Thirty-ninth (2013–2017) Parliaments in the Parliament of Western Australia (PoWA) by examining their use of social media to communicate with their constituents outside of a formal election campaign. The Theory of Information Worlds (TIW) was the conceptual foundation underpinning the research. The TIW focuses on describing information in social contexts, ranging from very small and local contexts to the larger contexts in which those are embedded (Jaeger & Burnett, 2010). It draws upon Chatman’s concept of small worlds (Burnett, Besant & Chatman, 2001) and Habermas’ (1992) concept of the lifeworld. It contextualises information behaviours within the social worlds that individuals inhabit by exploring five interconnected concepts: Social Norms, Social Types, Information Value, Information Behaviour and Boundaries (Jaeger & Burnett, 2010).
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Johnson, Julie J. "Undone." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1490.
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Klaussner, Miriam. "An examination of communication across cultures in news media and at informal/personal levels : with concentration on relations among two South East Asian countries and Australia and those two countries and Germany." Thesis, Queensland University of Technology, 2002.
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In the age of globalisation dominated by mass communication, the flow of information contributes to a big extent to the worldviews of its "global citizens".
From this point of view the mass media can be seen as one of the most salient sources of cross-cultural communication. This study investigates mass
communication across cultures, focusing on South East Asia (Malaysia and Singapore), Australia and Germany. The centre of attention is the Western media coverage of South East Asia and vice versa. In this context a content analysis of
newspapers of the three regions has been conducted. In addition, working practices and conditions of Western foreign correspondents in South East Asia have been
examined. Apart from the investigation of inter-cultural media coverage, another focus of attention will be the examination of two levels of communication: The business
level, concentrating on issues like e.g. the Asian business etiquette; and the private level, looking into the transition to a different culture from the perspective of Australian and German expatriates. Apart from investigating mass communication across cultures and to provide a written analysis of the findings, a series of radio documentaries in English and in German has been produced. They cover the following issues: Foreign correspondents in South East Asia, the expatriate-lifestyle of Australians and Germans in South East Asia, business etiquette in Asia, student exchange Germany-Asia, image and prejudices East-West and Tourism.
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McGinn, Bonnie Gay. "Creative Matrix." VCU Scholars Compass, 2007. http://hdl.handle.net/10156/1366.
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Bizer, Jessica. "Information Session." ScholarWorks@UNO, 2009. http://scholarworks.uno.edu/td/952.
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My work concerns the divergent narratives created by fusing varied, often conflicting, textures, colors and fabrics, into a tenuous order. I intend for these otherwise clashing materials to create drama that is simultaneously enthusiastic, epic and ambiguous. While this media's formal properties re an important component of my work, the material's cultural and art-historical associations are also are critical ingredient. In this thesis, I will explore the use of the varied collage material, hierarchical compositions and contemporary influence of 19th Century Romantic themes as they relate to forming a variety of distinctly contemporary narratives in my compositions. I will investigate how my artistic point-of-view is informed by art-history, irony and the work of contemporary painters. Finally, I will discuss how my work engages a contemporary version of the Sublime.
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Rousseau, Leslie Corder. "From the Edge." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/918.
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Paintings and drawings are the physical representations of my dialogue with the world around me. Art is how I connect to what is too large, or too vague, or too personally meaningful to express in any other way. Space and its transformation by light and color have always been central to this dialogue. I am particularly intrigued by spatial ambiguity. Space exists for us only in how it relates to us and so, space changes. One viewpoint or state of mind might make space seem freeing, while another makes the same space feel confining. Barriers are sometimes delineated, sometimes obscured. At other times, they are broken. This has a political implication which appears in my work as fissures, fences, compression, and collapse.The space of my inner self, the space outside, and the space between the two are relationships that drive what I paint and draw. My art is the place where I acknowledge the cracks in the ice and where I try to keep from falling through when the ground opens up. Shifting planes are where I try to keep my balance while peeking through the cracks and over the edge.
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Salyer, Alice. "M0MENTARY LAPSES." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3539.
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The artist discusses her Master of Fine Arts exhibition Momentary Lapses, held at Tipton Gallery, February 25-March 8, 2019. The mixed media works and video examine the intersections between digital, somatic and societal decay through the mediation of the digital image by physical anthropogenic efforts.
Themes in the work include glitch art and theory, entropy, memory, decay, and loss. Contemporary American society’s desensitization associated with the oversaturation of digital imagery is discussed, as well as Guy Debord’s theory of the Spectacle, and the artistic practices of Kurt Schwitters and Robert Rauschenberg.
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Condon, Thomas John Jr. "Everyday Haunting." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1325.
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This document outlines a journey of self-exploration, discovery, construction and destruction. It is a story of learning, a testament to impermanence, and a proposal for possibility. The words and work contained in this document are exclusive to the thoughts and actions of one man that hopes to share with others.
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Grazziano, Gustavo. "Códice: o tempo em suspensão." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-01062017-161736/.
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Refletindo sobre uma sensação de leveza e dilatação da passagem temporal, a pesquisa elabora a expressão \"tempo suspenso\" e analisa de que maneira essa singular percepção pode ser transmutada em códices. Para sua compreensão, dialoga sobretudo com duas produções artísticas: Em busca do tempo perdido (1908-1922), de Marcel Proust, e A última tempestade (1991), de Peter Greenaway. A primeira foi escolhida por discutir uma sensação como estopim para a elaboração de uma poética. A segunda, por colocar o códice artesanal como receptáculo de um assunto. O campo formado pelas duas referências aglutina a temática levantada e representa princípios geradores e norteadores no desenvolvimento de uma sintaxe visual composta de referências históricas e formais da estrutura do códice. Ademais, para a compreensão da dilatação do tempo foram analisadas obras clássicas japonesas onde se encontram características próprias dos termos wabi-sabi e ma. Elas são a representação estética de um método no qual a práxis poética é um momento decisivo na estruturação do objeto final. A partir dos diálogos estabelecidos, foram realizados sete livros de artista, chamados de códices, cada um apresentado separadamente em capítulos formados por registros fotográficos e textos contextualizadores dos assuntos elaborados.Reflecting upon a soft and expanding sense of the passage of time, this re- search elaborates the term \"suspended time\", analyzing how this singular perception is possibly transformed into codex art. It dialogues mainly with two artistic works for further comprehension: Marcel Proust\'s In Search of Lost Time (1908-1922) and Peter Greenway\'s Prospero\'s Book (1991). The first one has been chosen for debating a sensation as the trigger for the elaboration of poetics. The second one for setting the handicraft codex as receptacle of a subject. The field formed by both works ties together the presented topic and represents the generative and guiding principles of a visual syntax made up of formal and historical references from the codex structure. Furthermore, in order to comprehend the expansion of time, classical Japanese works in which specific characteristics of the terms wabi-sabi and ma appear, have been analyzed. They are the aesthetic representation of a method in which the poetic praxis has a major role in the final object construction. Seven artists\' books named codex have been created out of the established discussion, each one is presented separately in chapters formed by photographic records and guiding texts about the formulated topics.
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Martin, Timothy Michael. "Codes of Interaction." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/849.
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The ideas within this thesis are meant to clarify my explorations, research and painting practice during my studies at Virginia Commonwealth University. I expand on my general statements about being fascinated by advancing technologies and concerned about the after effects of these advancements. The writing explores my curiosity about the internal, skeletal structure of things and how they operate. I explain how the paintings are idiosyncratic hybrids that evoke animation, imaginary scientific propositions, blueprints, maps, and advancing technologies. The work combines these interests with my observations of day-to-day experiences. Isolated events provide found compositions which I then manipulate: a seemingly mundane bike ride gets mapped into a well–ordered schematic of social interaction.
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張斯婷. "TRANSFORMING-Mixed Media Painting by Si Ting Chang." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/8zs479.
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碩士國立新竹教育大學
藝術與設計學系美勞教師碩士在職專班
105
Painting is a part of life to the author. With age , individual and environment have changed passing through many stages of life . In spite of change of personal and sourandings, the heart is full of many thoughtfulness and feeling. This is a call from the bottom of the heart. The ideas are convinced through the paintings hopefully . The creative research is the main body based on the author’s works from 2012 to 2016. The “transforming “ is as the spindle of the creation . The content is the memories of hometown and life experience . The purpose of this creation is as follows : ( A ) To explore the relationship of change and invariance between the inner mind and external reality , thinking about the attiude of life . ( B ) To explore the expressionism , abstract painting and mixed media related theory , constructing of personal creation on the genealogy reference and developing the outlook of creation. ( C ) The memory of hometown and the change of realistic situation to the author , the inner mind and external environment interaction convert to an inspiration. To develop the unique creative form and complete individual’s creative works . The author divides the works into two parts : “ memory “ and “ reality “. In the form of works , abstract painting , composite media and collage are used to interpret the inner feeling and complete creative works.
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Lin, Chia-Yu, and 林家伃. "Disorder ─ Mixed Media Painting by Chia Yu Lin." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/p828am.
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碩士國立東華大學
藝術與設計學系
107
This body of creative research is the culmination of work completed by the researcher in the realm of mixed media from the period of 2018 to 2019, during her graduate studies. During this period she experimented with the use of acrylics and mixed media techniques, as well as gained a deeper understanding of the use of different types of materials. The subject of this creative discourse is, “Disorder - Mixed Media Painting by Chia Yu Lin.” In terms of artistic technique, “Disorder” showcases the complement and use of artistic mediums, supplemented with myriad lines, bringing to the viewer a sense of chaos. At the level of the spirit, it is conveying the interplay and twisting of emotions and ideas in the artist’s inner world. In terms of the subject matter, it talks about how events and changes in life cause feelings of disarray. By using the composition technique of blind contour painting as well as the method of shape simplification, the researcher displays a unique colour palette and artistic vocabulary. Structurally, this thesis is split into five chapters. The first chapter discusses the background, motivations, and purpose behind the researcher’s work, as well as the scope of the thesis, the methods used and an explanation of definitions. The second chapter focuses on the theoretical principles that underlie the work. It discusses the concepts of abstract painting, expressionism, blind contour painting and quick sketching, as well as composing a painting. It considers the necessity of the spirit of creativity and attitude to creating works of art. The third chapter consists of the ideas and content behind the works. It discusses the core ideas supporting this series of work, the methods of creation, the steps taken and the techniques used. Chapter four is an interpretation of the art works. It is an analysis of the elements that make up the painting, the meaning behind the colours and the ideas underpinning the work. Lastly, the fifth chapter focuses upon concluding the whole body of research, summing it up as a whole.
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Liao, Wen-Hsuan, and 廖文瑄. "Becoming─The Study on Palmistry and Painting Space with Mixed-media." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/3ygw38.
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碩士國立臺灣藝術大學
書畫系造形藝術碩士班
103
Plastic Arts hold various genres, including Chinese and western painting, printing, sculpting, audio-video multi-media making, etc. With the progress of eras in which new materials are being invented and creative ideas are dynamically transferring, creators, among the training of art skills, are seeking for abilities of the combination of materials out of plastic shapes, ways of thinking based on materials, skills of creating art forms, for the purpose of expressing ideas or opinions in art works by these measures. The study is to find out the ways of creating artworks with painting and multi-media, searching for the spiritual factors, like “time” and “variations”, among art forms. The writer has been trying to pour her viewpoints on changing of the destiny to the art works, including the image of “hand”, patterns of palm lines, and elements in numerology altogether to create the series of works, which show the great interest of the writer’s in Palmistry, and the adoption of the theory and the perspectives of Palmistry from different angles of art creation, so as to shape personal style in an subjective way. Here the main symbol of artworks is based on the image of “hand”, and it has been extended and transferred to broaden the differences between the series of the works, and has also developed potential manifestations. The thesis contains the first chapter: the motive, purpose, content, method, range and limitation of the research, outlines the major study on mix-media artworks, not on Numerology and Palmistry. The second chapter is the theoretical part of “Becoming”, the goal of which is to speculate on the philosophical concept of “Becoming”, and to preface the depiction on the “Becoming” of this thesis. The theoretical foundation refers to the quality of materials and the visual features of the symbols of Palmistry. The third chapter is about the approach to create works, to explain how to transfer knowledge and thoughts to the elements of the artworks, in which includes “ transformation of readability”, “symbols and application” and “ study on mix-media and coherence in mix-media”. The fourth chapter is the explanation of the process of creating the series of “Becoming” works, which is composed of three episodes: “Secrets of Palmistry”, “Practices of Becoming” and “Mental Retreat”, with the employment of practical creating methods. There are totally twenty art works. The fifth chapter is the conclusion, which is to examine the preliminary research goal and question on the basis of the results of the study. Wish to be contemplation for the future.
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CHEN, YEN-TING, and 陳彥廷. "One Fourth of Dreams – A Study of Ink Painting and Mixed Media." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/q95k25.
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碩士國立臺灣藝術大學
書畫藝術學系
106
The essay mainly describes the creating track and progress of the author during his graduate school years from 2014 to 2017. The author has observed and experienced his own experiences in different life spans and the information shared by his friends on the online platforms. Through absorbing the images and words, the author has pondered upon how to apply the acquisition to his creations with the basis of ink painting and accessory of other mixed materials, such as acrylic pigments, mineral paint, lacquerware and so on. Also using academic papers and psychoanalysis as references, the author finds out his own language and ideology; then this essay, One Fourth of Dreams, was created. This work aims to understand community psychology, psychology of art and color psychology, comprehend them to the information collected about dreams, and draw on creations. The second goal of the essay is to realize the distinctive meaning that different dreams represent in the hope of strengthening the surreal characteristic in the author's painting. The third intention is to use multi-materials to create so as to search for the possibility of Eastern art and confirm the author's personal creating style. In the first chapter, Preface, it introduces the direction, motivation, purpose, contents along with the definitions of several proper nouns. The second chapter is Academic Analysis, in which historical relics and works of art that could respond to the author's creations are listed. The concepts and ideas behind the author's serial creations and how other artists' works and theories have influenced his works are discussed from the perspectives regarding of history background, researches of other artists and academic theories. Manifestation and Connotation is the third chapter; it discusses the author's ideas behind his creations, experiments of techniques and materials. In the fourth chapter, Analysis and Interpretations of Works, data are organized and combined with aesthetics and the serial works are completed with the proper techniques and materials. The fifth chapter, Conclusion, is about the feedback, retrospect and prospect of this creating process.
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HSU, SHIAO-LI, and 許筱莉. "Metamorphosis, Proliferation and The Other Side ---- A Study on The Ink Painting Creation of Mixed Media." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/p3d26y.
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碩士國立臺灣藝術大學
書畫系造形藝術碩士班
105
Creativity is not only spiritual entrustment, but also a form of healing. It is a fantasy of happiness and an escape from daily life because the artist is isolated from the world while immersed in the creation of art. The construction and deconstruction of creativity in art is extended by the exploration of the three themes: metamorphosis, proliferation and the other side. It is a delightful experience regardless of the process or results. Through organic symbolism, creativity is cast into a fantasized reality to capture metamorphism in progress. The concept of the other side, born from escapism, is presented through the interaction and merging of ink washes, acrylics, and illustrations. And finally an artistic utopia is achieved, healing the self and the viewer. The author examines and presents the relationship between creativity and the self through the exploration of Chinese art and oriental aesthetics, the characteristics of which are investigated with the evolution of ink wash paintings and knowledge of artistic media in mind. For a long time the author’s creative process followed sensibility and intuition indirectly, while subjects often were drawn directly from daily life. For example, tomographies, pets, life lessons etc. are realized visually filtered through the author’s introspection and reinterpretation. The hope is to reinterpret life experiences and start a dialog with the viewer using the central artistic theme formed in this thesis. These works are also an attempt to define a personal place in art, summing up all the elements of creativity into a systematically organized series with the hope to develop future possibilities.
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Watson, Christine. "Kuruwarri, the generative force : Balgo women's contemporary paintings and their relationship to traditional media." Master's thesis, 1996. http://hdl.handle.net/1885/144360.
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Cassar, Manwel. "Mixed hues on the palette: reflections of the diasporic artist painting across two landscapes." Thesis, 2014. https://vuir.vu.edu.au/25415/.
Full textAbstract:
Mixed Hues on the Palette: Reflections of the Diasporic Artist Painting Across Two Landscapes deals with the experiences of Maltese-Australian artists in diaspora that, willingly or otherwise, affects them in working across two different cultural landscapes. More specifically, the study explores: how does diasporic existence shape the artistic performance?