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Varallo, Patrick Americo. "Abstract symbolic relationships /." Online version of thesis, 1993. http://hdl.handle.net/1850/11758.
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Boutote, Mary L. "A question of borders /." Online version of thesis, 1992. http://hdl.handle.net/1850/11147.
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Budrytė, Kristina. "Lithuanian Abstract painting in Soviet period." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2009. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20090312_110650-92526.
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The Aim of the research is to define and analyse works of Lithuanian abstract painting during the Soviet period by establishing and comparing the diversity of criticism and practices of abstract art in Lithuania over several decades (from the end of the 1950s to the 1980s).
In this thesis abstract paining is treated as a radical artistic reaction in Lithuania in terms of its theoretical and historical characteristics, and the general artistic context during the Soviet period is analysed in terms of socio-political issues. This is a study of the most celebrated examples of Western European art (also American art) presenting the most recent tendencies that developed out of them and juxtaposing it with the Central European culture (as the area of Soviet influence). Western European culture and its artistic movements were a complete opposition to the artificially built Eastern Block during the Soviet period. The forced separation of this period defined its unique qualities that found one expression in Central Europe and a different one in countries occupied by the Soviets (eg. in Lithuania); it also formed the position of freedom of an alternative art. Whereas in the West abstraction, in its own time, was the great boom of modernism because it freed painting from the traditional language of ‘representation’ and illustration, in Lithuania, in its local context, it had more functions: it was considered to be the great achievement of late modernism that helped to discover newer than... [to full text]Disertacijos santraukoje nurodomi analizuoti Lietuvos abstrakčiosios tapybos kūriniai sovietmečiu, išskiriant ir lyginant kelių dešimtmečių (nuo šeštojo pabaigos iki devintojo) dailės ir dailės kritikos įvairovę Lietuvoje. Abstrakčioji tapyba, peržvelgus jos teorinius ir istorinius akcentus, vertinama kaip radikali meninė reakcija Lietuvoje, o bendras meninis kontekstas sovietmečiu analizuojamas iš sociopolitikos problematikos perspektyvos. Tai Vakarų Europos (bei iš JAV atkeliavusių) žymiausių pavyzdžių analizė, pateikianti išsivysčiusias iš jų naująsias tendencijas ir Vidurio Europos (kaip sovietmečio įtakos lauko) kultūrų sugretinimas. Visiška priešingybe sovietmečio dirbtinai suręstam Rytų blokui buvo Vakarų Europos kultūra ir jų meninės srovės. Priverstinis to laikotarpio atskyrimas nulėmė savitumus, vienaip pasireiškusius Vidurio Europoje, kitaip – sovietų okupuotose šalyse (pvz., Lietuvoje), ir iššaukusius kitokio meno laisvės poziciją. Vakaruose abstrakcija buvo modernizmo suklestėjimas, tai reiškė išsivadavimą iš tradicinės dailės kalbos, susijusios su vaizdo atvaizdavimu. Lietuvoje abstrakcijos apraiškos turėjo ir kitokių funkcijų: plastinės meninės kalbos įvairove buvo bandoma paneigti priverstinai primestą socrealizmo ideologiją. Disertacijos santraukoje atskleidžiamos Lietuvos abstrakčiosios tapybos formavimosi prielaidos ir galimybės. Abstrakčiosios tapybos užuomazgos –– S. Kisarauskienės, V. Kisarausko darbų pavyzdžiai, J. Švažo, L. Katino ir kt. tapyba XX... [toliau žr. visą tekstą]
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Stubbs, Michael. "Digital embodiment in contemporary abstract painting." Thesis, Goldsmiths College (University of London), 2003. http://research.gold.ac.uk/175/.
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This thesis re-investigates Clement Greenberg’s discredited abstract expressionist claim that painting should seek its own purity through the acknowledgment of its material. I argue that Greenberg’s physical, bodily determination of painting (but not its purity) is re-located as a criticality in contemporary practice because of the changes brought about by the simulacrum and the digital. By utilizing the particularities of ‘painterly’ issues such as materiality, depth and opticality into the virtual, this claim responds to Arthur C. Danto’s ‘end of history’ theories where he argues that artists are no longer bound to the dictates of grand master narratives of art. For Danto, contemporary art has irrevocably deviated from the narrative discourses which define it such as Greenberg’s. Not satisfied with either postmodern strategies of parody in painting that claim a linear end to the modernist canon, or with recent claims that contemporary painting is beyond postmodernism, I convert Greenberg’s physical determinism using Andrew Benjamin’s notion that contemporary abstract painters, through making, accept and transform the historical/modernist premise of the yet-to-be-resolved object/painting by staging a repetition of abstraction as an event of becoming. This ‘re-styling’ of abstract painting is then examined as an ontological conjoining of Greenberg with Merleau-Ponty’s claim that the painter transforms the relationship between the body and a painting by overlapping the interior sense of self with the world of external objects. I argue that contemporary painting can offer a philosophical dialogue between the painter’s subjectivity as a mirroring of the painter’s personal style through objective ornamental materiality. This dialogue is developed through Stephen Perrella’s Hypersurface theory which proposes a non-subjective, deterritorialised, architectural parallel of the digital as a transparent, fluid system of multi-dimensional signs in which the contemporary subject traverses. Consequently, I suggest, the symbolic virtual changes the body’s sensuous relation to time and space and is central to contemporary painting’s criticality.
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el, Mathus Miguel Mathus. "Tactility and opticality in contemporary abstract painting." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6544/.
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The thesis analyses the construction of surface in contemporary abstract painting and its broader implications, mainly in regard to Clement Greenberg's understanding of modernist painting. It considers how this issue was contended between art critics such as Greenberg and Michael Fried and artists that challenged the formalist account of painting's medium specificity through a wide range of procedures and techniques. I review Thierry de Duve's analysis of Robert Ryman's work in regard to Greenberg's understanding of modernist painting and discuss the ways in which the contest between painting and photography (since photography made painting reproducible) is central. The analysis of Ryman's work leads to a consideration of Duchamp's readymade and its significance to painting. Painting's resistance to being annexed by photography follows de Duve's contention in regard to painting-photography competitiveness where he argues that opposition to photographic reproducibility has been critical for painting since the invention of photography. At this point the historical significance of Duchamp's readymade is regarded as a repetition of the invention of photography within the domain of painting. The assertion is then that the key to contemporary abstract painting - what supports its attraction - is the manner in which the construction of surface is made through the reformulation of pictorial practices that were developed from the 1960s - such as Informel - and continue to be elaborated in a contemporary context in the works of artists like Katharina Grosse or Sergej Jensen. By considering Informel as a manifestation of a painting-photography contest I argue for its value in contemporary abstract painting as a means to further develop abstract painting's potentiality, as Katharina Grosse and Sergej Jensen do through their engagement with architectural space.
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Lee, Kang-Wook. "Abstract painting and the aesthetics of moderation." Thesis, University of East London, 2015. http://roar.uel.ac.uk/4468/.
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The journey of this research began with exploring the notion of invisible space which cannot be perceived by the human eye, and the process of image visualisation expressed through my abstract paintings, which is supported by my theoretical research. ‘Invisible Space’, the title of one of my recent paintings, evokes the notion of a very small space such as a cell or nerve tissues which form part of the human body and have the potential to simultaneously symbolise a cosmological space. In my practice, I adopt painting as a pertinent method to realise my subjects and motifs. I consider how my painting is situated in contemporary art theory and practice by exploring artists and writers relevant to my underlying concept. I explore how my subject is presented in painting and drawing, and how my research can be developed logically and systematically in response to my practice. In this report, I analyse the three key elements: 1) abstraction that explores macro & micro space; 2) colour experiments and 3) cultural traditions and gesture through Korean Monochrome painting. In the first section, I introduce two artists, Mark Francis and Terry Winters, who have inspired me. I researched these artists, their creative methods, and the critical debates which surround their work. I am interested in how they have developed abstract elements within their paintings which articulate their interest in scientific subject matter. For my creative practice, I experimented with abstract elements using a variety of mediums that I had not used in my previous practice in order to inculcate the possibilities of change in my work. In the second section, I present two theorists, John Gage and David Batchelor. I have undertaken an interpretation of their study of colour as a significant element of abstract painting forming my recent practice. The intention is to identify the possibilities of colour as a cultural and psychological visual requisite that provides insights and links between my painting and individual experience. My 4 experimentation has focused on how colour is represented in the aesthetics of Korean culture and art. In the third section, I focus on ‘gesture’ or ‘physical intention’ to be exposed directly by artists on the basis of Roland Barthes’s concept of ‘gesture’ in Cy Twombly’s works. I explain how this subject is explored in my recent practice, inspired by a Korean artist, Lee Ufan, whose approach and interpretation of this concept are very different from that of Western artists. I have experimented with repeated gestural actions in my new paintings which refer to Korean Monochrome painting, ‘Dansaekhwa’, demonstrated in a recent solo exhibition at the Tokyo Gallery, Tokyo, Japan in 2014. The core of my approach to the gestural concept is to investigate how my painting is connected with the Korean cultural tradition through ‘Dansaekhwa’ and raises the question of what is the nature of gesture as perceived from both an ‘Eastern’ and ‘Western’ perspective. As the repeated gestural actions of ‘Dansaekhwa’ have become the foundation of a new approach to my work, ‘Moderation’ in the title of this report has a critical meaning that implies my working processes. It signifies a form of reservation, a passionate yet slow and painstakingly intensive labouring process. I have called this controlled and restrained artistic intention ‘the aesthetics of moderation’, emphasising the ethics of restraint as shown in Korean culture and monochrome arts. This report aims to clarify the intention of my practice and deliver direction for my final exhibition to complete my doctoral study.
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McDonald, Adrian. "Painting Geometry: an abstract language in concrete form." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9913.
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My thesis is that geometry is an abstract and universal language that can reflect the inner being of the world in concrete form. I propose that the ideal forms of geometry, like those of harmony in music, have an aesthetic and metaphysical dimension that is capable of touching the most essential part of our being in the world. In this context, I suggest that painting geometry may be understood as an art practice that is closely aligned with the ideals of philosophical reflection, and how, as a consequence of this understanding, my approach to painting geometry is directed towards the realisation of the ideals of beauty, truth and freedom in particular; an approach that I claim shares much in common with the origins of both abstract and concrete art in post-Kantian German Idealist thought and Romantic art. On this basis, I argue that my painting practice is engaged with the possibility of the realisation of an ideal form of expression. This goal may be summarised as the achievement in painted form of a visual or spatial equivalent to the formal language of harmony of music. The paintings that I have submitted for examination may be understood as a direct consequence of my research findings, in view of which my intention is to make a contribution to the current and evolving language of abstract and concrete art. To this end, my thesis serves as an exegesis for the paintings submitted for examination in fulfilment of the requirements of my doctoral candidature.
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Daws, Joseph H. "Abstraction : on ambiguity and semiosis in abstract painting." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/67445/1/Joseph_Daws_Thesis.pdf.
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Drawing on the fields of philosophy, phenomenology, art history and theory as well as the candidate's own painting practice, this PhD explores the nature of ambiguity and semiosis in contemporary abstract painting. The thesis demonstrates how the aesthetic qualities of pause and rupture, transition and slippage work emergently to break established clichés, habits and intentions in the experiencing of abstract painting and artistic practice.
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Geer, Andrea. "The non-representational language /." Online version of thesis, 1990. http://hdl.handle.net/1850/11309.
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Ah, Kuoi Michelle. "Jekyll and Hyde approach to painting: the antagonistic strategy in contemporary abstract painting." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/12009.
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This paper examines my paintings in conjunction with three painters; Albert Oehlan, Charline von Heyl and Christopher Wool. These painters utilise a combination of visual languages and adopt an antagonistic or contradictory painting strategy indebted to Willem de Kooning, the Dutch American Abstract Expressionist. The discussion involves how these artists have manoeuvred their own positions in painting and how they have created their own painting lexicon against the paradigm of the cyclical viability of Contemporary painting. The emphasis is on each artist’s avoidance of binary opposites; whether it is between abstraction and figuration, or the stylistic tools and tropes within the painting. The paradox in writing this paper has been that the language utilised to describe abstraction is fixed with the language of modernism. In other words, the visual lexicon has developed and the language to describe it has not. Similarly, any language and linguistic classification of art works against and is insufficient to the fluid nature of many of the paintings.
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Smith, Catherine Dicesare. "Synergistic qualities of form and space /." Online version of thesis, 1996. http://hdl.handle.net/1850/11927.
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Scott, Rachel Maureen. "ROMANCE PAINTING: l ' avant garde ne se rend pas." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/17794.
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What is the framework for discussing abstract painting in 2017? Is it modernism; art history; conceptual art; contemporary art; national or regional boundaries? All of these or none of them? What would happen if all those frameworks were questioned concurrently? How could such an enquiry be navigated through the terrain of the twentieth century and beyond? By taking a selection of paintings by Francis Picabia, Marcel Duchamp, Piet Mondrian, Jacob Bendien, Sophie Taeuber-Arp, Kazimir Malevich, John Power, Hans Hartung, Asger Jørn, Karel Appel, Olle Bærtling, Maria Helena Vieira da Silva, Gene Davis, Frank Stella, Wendy Paramor and Vernon Treweeke made between 1906-1969 as a starting point for a speculative, retrospective enquiry that interprets not only these artists’ reception in art history, but the broader development of twentieth century art, this document realigns artistic judgment and conventional nomenclatures and classifications in order to place the idea of the artist and the artwork above their attendant histories and theories. It revisits the artistic avant garde in Paris and the artists engaged with the burgeoning possibilities for freedom from conventional strictures that led to the dissolution of the reliance on an object or model. By 1912 this convention had been destroyed, followed by other conventions, in order to make or constitute a new kind of painting that defied previous knowledge or viewing conditions: abstract painting. Here the artists Francis Picabia and Marcel Duchamp whose legacies currently offer the most radical intellectual possibilities for freedom and abstraction in art are reassessed in order to understand the potential for what ‘abstract painting’ can and could do.
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Maghrabi, Hesham A. "Application of traditional abstract painting in new media environments." Thesis, Coventry University, 2007. http://curve.coventry.ac.uk/open/items/975cb65c-9570-d5dc-6649-f793b886d6cb/1.
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This thesis presents an investigation into the process of new forms of installation art; an exploration of the shifting of artistic activities from conventional studios and fine artist practices to installation art practices. A combined approach was taken whilst undertaking research by studying literature within the field, engaging with other practicing artists and conducting practical analysis. There is also a discussion of new technology in the field of abstract expressionist painting and a dialogue on the differences between traditional and digital abstract painting with regard to their processes. The reflective and issue finding processes undertaken by the researcher in this investigation are discussed in relation to the changes in his practice. The artist’s experimentation with materials and processes and the implications of this as regards the relationship between the artwork and the viewer are also discussed. The thesis is divided into seven chapters of text and images with an accompanying DVD including the main abstract new media installation. The first chapter includes an introduction to the research with the methodology applied. The second chapter involves using the computer to produce abstract painting. The third chapter then focuses on the differences between digital and traditional abstract painting. Moving on from this the fourth chapter covers multimedia installation and its associated processes. The fifth chapter deals with the reflections on the practice element of this investigation. The sixth chapter engages with the evaluation of and feedback from the field trip and with notes from artists with regard to practical production. The final chapter draws conclusions from this research with suggestions for further studies. This thesis will make the following contributions to knowledge: developing the process of animation from 2D abstract painting to a 3D environment with the inclusion of animation; using new technology as a creative tool to enable artists to gain new insights into creative art practices which provide audiences with new experiences of new and multimedia installation; advancing the creative process of new and multimedia artworks taking account of new techniques relating to the manipulation of viewpoints, picture planes and pigment surface as related to traditional methods of image creation and recording and their new media counterparts.
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Hemingway, Bernard Anthony. "Intuition and certitude : abstract painting considered as a language." Thesis, University of Kent, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385090.
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Millward, William. "Abstract painting the development and analysis of innovative processes." Saarbrücken VDM Verlag Dr. Müller, 2003. http://d-nb.info/990055116/04.
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Barbe, Majella. "Songs of silence: painting, phenomenology, aesthetics." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10207.
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The aim of my research is to explore the aesthetic potentialities of gestural painting and reductive spatiality in two dimensional and three dimensional forms. I have conducted an investigation into aesthetic experience through the phenomenological framework of the French philosopher, Merleau-Ponty and the foundational thinking of American theorist, Ellen Dissanayake in relation to art. I have addressed gesture and materiality as both a communicative tool and an aesthetic strategy. The work of Katharina Grosse (b. 1961), Fabienne Verdier (b.1962) and Anish Kapoor (b.1954) is investigated, especially in relation to aspects of visual art practice such as large scale works; the use of gesture in painting; spatiality in two and three dimensions; attention to surface and the strategic use of colour. The void and the sublime is also addressed, especially in the works of Anish Kapoor and Fabienne Verdier. My studio work is based on an initial series of mark making experiments in ink/paint on paper. The emphasis was on the phenomenological experience and aesthetic dimensions of verticality, in relation to falling and floating. The gestural marks are improvised, repetitive and experimental in nature; and the spatial activation of the white ground and its surface is also a primary consideration in these experiments. Painting in three dimensional space emerged through the studio practice and its theoretical concerns. This culminated in gestural experimental painting on 4.5m vertically suspended drops of muslin using both viscous and watery paint. The muslin was also sculpted and draped in various ways which evoked a multitude of bodily and experiential associations.
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Evans, Michael. "Contemporary abstract painting and spiritual experience : an investigation through practice." Thesis, London Metropolitan University, 2013. http://nectar.northampton.ac.uk/5048/.
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This investigation reaches beyond one single discipline or mode of discourse, exploring current possibilities for contemporary abstract painting and spiritual experience. Types of experience associated with previous 'spiritual' abstract painting are explored in view of the need for new languages for abstraction and spirituality in both word and image. This is developed alongside. the recognition of the importance of engagement with the contemporary world for abstract painting (in this case via technology). The investigation is given a theoretical critical context through reference to and analysis of writers such as Donald Kuspit, Peter Fuller, James Elkins and Jeremy Gilbert-Rolfe and three leading painters Gerhard Richter, Jan McKeever and David Reed along with a record and analysis of my own painting and digital images. Abstract painting and spiritual experience are subjected to critique and reinterpretation within this investigation and a contemporary concept of the spiritual emerges through an opening of thought found within postmodernism and a renewed critical interest in negative theology. .' Negative theology is seen as having similarities to a broader apophatic outlook found both in contemporary thought and art. This leads to a contemporary model of abstract painting and spiritual experience using a language of doubt through terms such as the unknowable, unrepresentable or unintelligible. The initial process based paintings of this investigation explored problems surrounding authorship and of authorial suspension via process, however a counter and more positive aspect of process emerged from an alternative alchemical or hypostatic view of process painting as a deep. engagement with matter. The limitations of process painting are considered, for example, basic repetitiveness, lack of surface and form, lack of imaginative engagement and most importantly the lack of risk on an emotional or psychological level. Previous modernist models of spiritual abstraction are seen to be made problematic by contemporary critical theory resulting in the need for a new, contemporary language for spiritually motivated abstract painting. Through the use of image deconvolution software (normally used within the sciences) relatively formless process paintings gave rise to new digitally generated form. Subsequent paintings were a response to the potential of these digital forms arid reintroduced both brushstrokes and form within an abstract, illusionistic space. This investigation explores a language of the unknown and unfamiliar within a broader context of doubt as positive strategy. Process and technology along with a critical reintroduction of authorial subjectivity and imaginative response gave rise to strange and unpredictable paintings which exist within a contemporary discourse of the apophatic, a mode in which, I argue, a contemporary form of spirituality may also be encountered.
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Bennett, Jane Andrea. "Revisioning boundaries : feminist theory and the space of abstract painting." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433944.
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King, Gillian. "Becoming Animal." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35269.
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Wallestad, Kate. "Growing Cycles." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3330.
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In my paintings and prints, I create to understand my experiences. I make layered, repetitive marks and gestures that consist of spherical masses, orbits, and cellular forms. The shapes represent aspects of reproduction and symbolize my thoughts and ideas about procreation. In making pieces, I employ a mathematical system that describes growth patterns found in nature. I use this system as a way of echoing natural structures, as well as a way of focusing my attention. I create multiple small pieces and present them in large, gridded formats. These pieces are abstracted narratives of my thoughts and feelings.
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Engström, Alexander. "Inger Ekdahl : Swedish Abstract Expressionism." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182385.
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Inger Ekdahl was a female painter at the center of Swedish Abstract Expressionism in the fifties. This essay investigates how her art was received in Stockholm and Paris. We conclude that although her type of art dominated the avant-garde in Paris during the late fifties, she was too early for the Swedish avant-garde and did not amass enough support to transform it. The analysis used Actor-Network Theory following Latour.
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Taylor, Caleb Josiah. "Covered." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/taylor/TaylorC0508.pdf.
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My investigation of painting has led to creating abstractions that refer to internal and external anatomical forms. Microscopic images initiated a dialogue that guided each paintings reference to the body. Evolving from a figurative background, my work has sequentially advanced through the construction of a personal visual language which changed from a perceptual investigation to an intuitive, visceral analysis. This progression allowed a thorough study of abstract elements and their formal potential.
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Miettinen-Harris, Maija Helena. "Contextualizing Epiphanies and Theories on a Surface of a Painting." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1436836349.
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Degroot, Simon Cornelius. "Familiar beyond Recognition: Translation in Contemporary Abstraction." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/368013.
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This research contributes to discourse on abstract art in relation to a contemporary context of image sharing and exchange. Many contemporary artists working with abstraction use visual elements from art history, popular culture, product design, the computer desktop and architecture in their work. The once unrecognisable non- figurative forms of Modernist abstraction have now become recognisable objects and forms in contemporary abstraction. Artists such as Charline von Heyl, Christine Streuli, Natalya Hughes, Peter Atkins, and Ryan Gander make visual reference to pre- existing forms in their work, shifting our understanding of abstraction as being based only in formal qualities. Translation as process and concept is a useful model to interrogate how particular abstract forms are re-employed in contemporary abstraction, how they are recognised, why they are familiar, and why this is important to understanding contemporary abstraction.
I argue that both a history of Modernist abstraction and a developing visual culture brought about by commercial printing techniques have popularised abstract forms, and that both favour techniques of visual communication that are expedient, direct, easily disseminated, and easily recognised. I consider what an analysis of translation in language is able to bring to the analysis of contemporary abstract painting.
Translating an original text for dissemination to a wider audience is similar to the way in which contemporary artists use existing abstract forms to make new works. I compare theories of visual representation from W. J. T. Mitchell, Hubert Damisch and Arthur C. Danto to consider how particular abstract forms are reused in contemporary environments and how they are able to continue to evoke feelings of familiarity in different contexts while remaining abstract.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Bachtel, April. "Innate Materiality." Kent State University Honors College / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1304282952.
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Wilson, Andrew George. "Between tradition and modernity : Patrick Heron and British abstract painting, 1945-1965." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.715968.
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Loveday, Thomas. "The Darkened Room: Painting as the Image of Thought." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1103.
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This thesis is an interdisciplinary explanation of correspondences between painting and philosophy. It does not offer, as could be assumed, a critique of philosophical concepts or an instrumental description of painting. Instead, it shows how concepts from philosophy can be used to see painting in new ways, particularly abstract painting. The philosophy discussed here is limited to continental or speculative philosophy, mainly, but not exclusively, the philosophy of Gilles Deleuze and Félix Guattari. The work of philosopher Richard Rorty also plays a part because he presents a clear description of the relationship between vision and philosophy. From a philosopher’s point of view, painting is highly relevant to an image of thought and is in general, used to explain conceptual assemblies. Rarely, however, do philosophers talk of painting’s own philosophy. This thesis argues for an account of painting as philosophy of sensation.
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Loveday, Thomas. "The Darkened Room: Painting as the Image of Thought." Sydney Collage of the Arts, 2006. http://hdl.handle.net/2123/1103.
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PhDThis thesis is an interdisciplinary explanation of correspondences between painting and philosophy. It does not offer, as could be assumed, a critique of philosophical concepts or an instrumental description of painting. Instead, it shows how concepts from philosophy can be used to see painting in new ways, particularly abstract painting. The philosophy discussed here is limited to continental or speculative philosophy, mainly, but not exclusively, the philosophy of Gilles Deleuze and Félix Guattari. The work of philosopher Richard Rorty also plays a part because he presents a clear description of the relationship between vision and philosophy. From a philosopher’s point of view, painting is highly relevant to an image of thought and is in general, used to explain conceptual assemblies. Rarely, however, do philosophers talk of painting’s own philosophy. This thesis argues for an account of painting as philosophy of sensation.
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Wang, Hui Ping. "The British response to abstract expressionism of the USA c. 1950-1963." Thesis, University of Newcastle Upon Tyne, 1996. http://hdl.handle.net/10443/461.
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Abstract Expressionism was arguably the most important art movement after the Second World War and it has in many ways influenced all subsequent art movements in the West. This thesis investigates the presence of Abstract Expressionism in Britain and responses to it in the 1950s and early 1960s. Abstract Expressionism was presented to the British public through literature and exhibitions by individual Americans and by American institutions after 1947, but it was not until 1956 that Abstract Expressionist paintings became accessible in any quantity. While it was denounced by many, it won sympathies from two main groups of artists: firstly, established painters who were exploring the incorporation of abstract form with imagery from landscape and figure, and secondly, the younger generation of art students. The British constructivists were unaffected. For these established painters, Abstract Expressionism was more of a pure inspiration than a stylistic stereotype. A few of them experienced dramatic changes of style as a result, while others showed a very restricted interest in it. The reai impact was on the young artists. Under the influence of the Independent Group, which helped in generating an awareness of a new urbanism in London, they treated Abstract Expressionism and its later development Post-Painterly Abstraction, as an authentic reflection of contemporary society. They were not only eager to contribute to it but also to embrace it as their own. At the end of the 1950s, the majority of critics had accepted current status of Abstract Expressionism. Its two major British critics, Patrick Heron and Lawrence Alloway, were activists on t he contemporary art scene. Heron restricted his argument by what was essentially a combination of the painting qualities that Roger Fry had qualified and the idealism of the 1930s abstraction promoted by Herbert Read. Alloway, on the other hand, successfully exploited Abstract Expressionism to promote a new British-movement. His ideas, inspired by Abstract Expressionism as well as American consumerism, popular culture, science and technology, were embraced by young artists. British art was thus transformed in the 1960s, to a urbanisminspired art, which came from the "real' world and was receptive to its influence, rather than retreating into landscape, a psychological inner world or the realms of artistic idealism.
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Alvarez, Leticia. "The Influence of the Mexican Muralists in the United States. From the New Deal to the Abstract Expressionism." Thesis, Virginia Tech, 2001. http://hdl.handle.net/10919/32407.
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This thesis proposes to investigate the influence of the Mexican muralists in the United States, from the Depression to the Cold War. This thesis begins with the origins of the Mexican mural movement, which will provide the background to understand the artists' ideologies and their relationship and conflicts with the Mexican government. Then, I will discuss the presence of Mexican artists in the United States, their repercussions, and the interaction between censorship and freedom of expression as well as the controversies that arose from their murals.
This thesis will explore the influence that the Mexican mural movement had in the United States in the creation of a government-sponsored program for the arts (The New Deal, Works Progress Administration). During the 1930s, sociological factors caused that not only the art, but also the political ideologies of the Mexican artists to spread across the United States. The Depression provided the environment for a public art of social content, as well as a context that allowed some American artists to accept and follow the Marxist ideologies of the Mexican artists. This influence of radical politics will be also described.
Later, I will examine the repercussions of the Mexican artists' work on the Abstract Expressionist movement of the 1940s. Finally I will also examine the iconography of certain murals by Mexican and American artists to appreciate the reaction of their audience, their acceptance among a circle of artists, and the historical context that allowed those murals to be created.Master of Arts
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Ye, Guo Shin. "Appropriation and hybridity of Taiwanese literati painting and American abstract expressionism (1949-2007)." Thesis, London Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536723.
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For centuries, traditional Literati painting has been unchallenged and has not undergone any real or radical change. The Taiwanese Modem Ink-wash Painting that emerged in the 1950s is an extension of this painterly tradition. This new visual form of modern Ink-wash painting that I am presenting, is a hybrid, combining both Chinese Ink-wash painting and American Abstract Expressionism, and represents a different and I hope more progressive artistic style in comparison to the restricted conventions of Literati painting. My thesis seeks to evaluate the mutual appropriation of the stylistic and ideological assumptions of both Chinese painting, in particular Literati painting, and American Abstract Expressionism. The final objective of my research is to create a new hybrid art that comprises both Eastern and Western aesthetics and with a view to establishing new paradigms in visual arts culture. A dualistic approach was therefore adopted to analyse both painterly traditions in terms of their components such as media, techniques, philosophical and aesthetic theories. Some evidences of previous and existing East-West cross-cultural influences are also evaluated as well as the further developments of both traditions to the present day. The findings of these studies were then used to support the creation of my new hybrid artworks with the main artistic components of both Literati painting and Abstract Expressionism. In addition, a list of criteria is thereby created to enable me to evaluate the elements of hybridity of my artworks. Both modem Ink-wash painting and Abstract Expressionism emerged in similar socio-political conditions with a common interest in abstraction and challenging convention, as well as seeking greater freedom of attitude in visual expression. In the same way, and by handling the components in the table of hybrid evaluation criteria' I have set up, a body of my new hybrid art reveals the increasing hybridism from a totally Oriental Literati painting to a painting that is almost fully Westernised. By varying the combinations in the table of hybrid evaluation criteria, one may utilise this methodological framework to create diverse hybrid artworks and which are limited only by imagination.
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Graves, Andrew. "A user's guide for painters and cyclists : very abstract painting and serious cycling." Thesis, Middlesex University, 2016. http://eprints.mdx.ac.uk/21175/.
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This practice led research investigates the relationship between cycling and abstract painting. It is a written commentary presented alongside my artwork that gives voice to my studio practice. The history of abstraction and cycling are explored to discuss the myths and nuances of painterly practice, cycling and the studio. The text is an assemblage or collage, put together to represent the modality of interests in the studio and an exploration of key motivations that have driven my practice during this research. There are chronological and parallel developments in the history of Modernist painting and the history of cycling, I will use these to illuminate my relationship to painting and explore the mechanics of the studio. The fact that cycling and painting are both caught up in their own histories is evidenced and also how at certain moments these histories have intertwined and overlapped, such as, in the work of Marcel Duchamp and Alfred Jarry. I have produced a text that is intended to reflect the complexities and impossibilities of explaining an intuitive, visually driven studio practice. It seeks to examine and present key relationships within my painting and the studio in order to extend my knowledge and the vocabulary of my making. The writing touches on the not always immediately apparent connection between my work and those things that populate the studio, I am interested here in the coincidences, references and happenchance that enable and nourish my work in the studio. I discuss first hand meetings between myself and other artists, how work is sustained through studio visits and discussion. I investigate the placement and logic of references and how they function. I am interested in how past historical works enable, inform and develop artwork, these precedents are explored here to gain insight into practice. I consider the role of abstraction in my practice, what it means and how the idea of non-figurative painting is negotiated by myself and others. The history of painting and the work of other artists leave a trace in my studio, a catalogue of references, which allow me to navigate my paintings and give them context. This is in no way a definitive history of abstraction but an attempt to map a personal dialogue, implied by the paintings and suggested by theoretical writings and the curatorial landscape of contemporary painting in London. The reflection on paintings’ past is to be focused on the early and mid-twentieth century traditions of abstraction and its persistence in the post-conceptual art landscape of contemporary artistic practice and current painting. I do envisage this as an attempt to address the specific and historical problems of painting, in particular the contested and shifting position of abstraction. I decided to research abstract painting because it is the domain in which my own practice situates itself, but it also allows me to direct my historical study towards a particular period of painting and pick up on a current dialogue on the reach of modernist practice and the contemporary place of abstraction. In order to do this I will use the somewhat disparate voices that are the key texts that have informed and become my influences in the studio. The texts of Jean Luc Nancy, Ludwig Wittgenstein’s and Roland Barthes have been a constant presence throughout this research and have provided a framework for this writing. The relevance, pertinence and necessity of these writings have not always been immediately apparent, their relationship to the vocabulary of a painting sometimes oblique. I have appropriated the Wittgenstein’s text Zettel, a post-humously published series of numbered fragments and quoted them here to enable me to respond to them and use Wittgenstein’s language of visual depiction (to explore philosophical thought) to give a structure to my reflections on painting. Jean Luc Nancy’s writing has allowed me to place texts together that are both attracting and repelling, pleasing and repulsing, hoping to find a traction between them and to draw out invisible, previously untraced lines between what concerns my practice and my writing. I take from Nancy the idea of presence in terms of painting and how might this be considered, that text and painting both present something, have presence. Nancy is instructional for shedding light on my thinking about text and image, to assist the discussion, to develop the relationship, to signal ideas about painting and writing. The text explores image, the image therefore captures the text. In this research I consider moments of cyclings past, in order to explore the way in which cycling might describe ways of being. A way of describing movement and existing, of going beyond or outside of oneself, exceeding. So cycling, as discussed here, is often the negotiation of a climb, the assent, the rise, moments where the essence of the race is found; altitude, height, the peak. Nancy speaks of the intimately mingled relationship between form and intensity, that intensity animates form. And so to interpret, to understand and to position my thinking about painting, cycling has been useful and insightful. In Hubert Damisch’s discussion on the tradition of Chinese painting there is the opportunity to think outside of a Western Tradition about how to animate the field of a painting. Considered here is the idea of painting made up of limits, paths and journeys. The order in which the development of an image might be traced, how a brush might journey through a work. The flesh and bone of a work are discussed through a meditation and reflection on the relationship of brush to ink. In Chinese painting the pictorial field and its orientation are, says Damisch, given priority over delineation. But this kind of delineation is not set up to separate or isolate the fields of the painting but to open up a relationship of opposites and allow a dialectical relationship to occur across the painting. A pivotal part of this research, is the reading of Zettel by Ludwig Wittgenstein, which allowed me to respond to my practice as a thread of connected but unrelated ideas. A discussion on how a text might explore and reflect the content in my work but also the continuity or discontinuity of approaches in my thinking about painting. Visually specific and descriptive Zettel connected to my paintings with its open and abstract propositions. The question of intention, connectivity and meaning are brought up by these writings and help to establish a pattern for a series of responses to my own painting and reflections on practice. The quotes I use are part of a posthumously published, fragmented collection, open-ended, they are descriptions of ideas that conjure visual pictures and enable me to respond with a collection of ideas on practice. The writings were found clipped together, somewhat ordered and boxed. Are they random? What interested me about this is that they ask questions about arrangement, for my work and this writing. And so, this allows me to touch on the openness of my practice and the question of refinement and resolution that the painting presents. I discuss how Modernist painterly abstraction and in particular how the writing of this period sought to resist depiction and mimicry. Placement is suggested by my reading and revealed in the arrangement of these writings and how they are placed or collaged together. The possibility of leaving something unsaid is explored here and considered alongside the impossibility of description when discussing painterly abstraction. The associations or representations about practice are oblique, lateral and sometimes silent. I have sought an open interpretation to these writings, suggested by my practice. The relationship between the text and painting affirm a language that is an attempt at equivalence, seeking to engage the impossibility of writing about painting, within the text.
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Khatir, Linda. "The vital space of painting : changing perceptual and material conditions of space, place and viewer in contemporary European abstract painting." Thesis, Bath Spa University, 2009. http://researchspace.bathspa.ac.uk/1478/.
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Schultz, Ruth. "Being of shape : being--The ground through which all things are /." Online version of thesis, 1989. http://hdl.handle.net/1850/11082.
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Draguet, Michel. "Genèse et naissance de l'abstraction de Kandinsky à Malevitch: essai de définition de la notion de Permière abstraction, 1911-1918." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213179.
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Ellis, Hele. "Decentering the subjective: The transcendent experience of formlessness in an abstract expressionist painting practice." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/107658/1/Hele_Ellis_Thesis.pdf.
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This practice-led research project is based on the experimental strategy of Formlessness within painting, a negation of representation within the compositions, which potentially act as a pathway to sensory immersion and without a subject-matter to an awareness of Self. The colour palette chosen for the colour fields introduces chromatic couplings that are specifically hung for maximum charge. The colours present as taking on their own lives, explaining the compelling force behind these works that lead to a pure sensation. Key tenets of Anthroposophy - with particular concern towards Steiner's writing on colour - are central to the theoretical position the project takes.
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Sipes, Kelly Suzanne. "Dot matrices." Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5501.
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Thesis (M.F.A.)--West Virginia University, 2007.Title from document title page. Document formatted into pages; contains iv, 49 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 30).
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Pasek, Jeffrey Douglas. "Worry My Head: An Exploration of Head-Like Forms as an Expression of Existential Concerns." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1385383454.
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Leake, Lauren. "Forced Kinship." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3226.
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My oil paintings, glass works, and mixed media are abstract meditations on familial relationships and their boundaries. The interaction between colors and layers of pigment reference human interaction. I apply veils of colors, which obscure, alter, or blend into previous layers of color. These layers metaphorically reference how family relationships affect the person we are and influence who we become. I approach my oil paintings serially and often refer to them as sisters or a family. I often work on two or more canvases at a time allowing each painting to share palettes and a similar language of shapes. When I work this way, it allows me to explore different responses to an experience. The interaction of the paint embodies struggle, and new shapes and shades of color emerge as the boundaries of painted areas are dissolved or declared. I also layer color and pigment in my glass paintings. Here, I place finely ground colored glass onto clear glass sheets, then fire it, rework it, and fire it again. Reworking the glass allows me to build a history of layers, which I relate to the way that a person carries around a history of experiences. Lastly, in my prints, I use multiple stencils to apply layers of ink to conceal or reveal the history of the work and reference the ever-changing nature of relationships. This dance of emergence and disappearance of color relates to the forced kinship of family and calls to mind the levels in relationships we build with people, consciously or not.
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Montenegro, Jennifer. "Wild: Paintings Intertwining Body and Mind." CSUSB ScholarWorks, 2016. https://scholarworks.lib.csusb.edu/etd/413.
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I believe creativity can be a direct link to the soul, a space to have a conversation with the divine and I seek to explore this idea in my art. I also want to invite the observer to move through my work and explore the space contained within their own emotions and sensibilities, beyond boundaries, allowing the work to linger and sink in.
Translating these ideas into the form of my works, following my intuition intelligently, involves an intensive process of many layers of paint and textures combined with thread. My work involves the intersections of spirituality and art making through the experience of meditation.
Engaging in traditional painting methods with abstract formations and intertwining thread to symbolize body and mind. Exploring the invisible, which is something you cannot obtain like meditation and making it visible through human experience. Inspired by Maurice Merleau-Ponty theoretical thinking on placing consciousness as the source of knowledge.
Painting is my meditation, it is a tool to connect, dissolve, and release. Thread is the link to my ancestral consciousness and femininity. My work creates a wild boundless space, welcoming all emotions and thoughts to manifest into gestural and abstract landscapes. There is no right or wrong way to experience the work, what matters most is the totality of presence and observation of the spaces in-between.
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Salehi, Farina. "East Meets West: Exploring connections between abstract modernist painting and nomadic textile traditions to reflect on diaspora identity." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18490.
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My research project explores connections between Iranian textile designs and western abstract painting. Based on the diaspora experience of my own life it investigates how the influence of two different creative traditions combined to produce new forms of culturally hybrid art. The research examines modernist abstract painting and nomadic weaving traditions and considers specific aesthetic issues that are common to both despite their separation in time and place. It uses this idea and observations to create work that speaks about how art can be a space in which culture can be positively combined and enjoyed.
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Rampin, Dantas Neves. "A musica de Morton Feldman sob a otica de sua compreensão da pintura do expressionismo abstrato." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284696.
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Orientador: Denise Hortencia Lopes GarciaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T15:11:52Z (GMT). No. of bitstreams: 1 Rampin_DantasNeves_M.pdf: 9209358 bytes, checksum: 374af3500d1f2a9923260762214a4c2a (MD5) Previous issue date: 2008
Resumo: Esta pesquisa reflete a relação entre a música do compositor norte americano Morton Feldman e o grupo de pintores do Expressionismo Abstrato The New York School of Visual Arts - partindo da ótica do próprio compositor. Abordamos a maneira como Feldman trabalhou concepções advindas da pintura na composição técnica e estética em sua música. Para discorrer sobre este tema, a dissertação apresenta uma breve contextualização histórica da década de 50, do século passado, momento do encontro de Feldman com os pintores. Em seguida, apresentamos as concepções desenvolvidas por Feldman em sua música derivadas da pintura. Para tanto, apresentaremos análises que nos permitam compreender como estas concepções se concretizam musicalmente através da história notacional do compositor. Do ponto de vista metodológico a pesquisa se vale das declarações do próprio compositor, de pesquisas que abordam o trabalho composicional de Morton Feldman e da análise de obras. Priorizamos a análise da peça Crippled Symmetry, já que ela apresenta uma das notações mais originais produzidas por Feldman, o que nos inspirou a composição de Sombras Sobre o Encoberto 11, peça que apresentamos neste trabalho como resultado composicional desta pesquisa. Nas considerações finais, além do resultado de Sombras Sobre o Encoberto 11, discutimos como as concepções utilizadas por Feldman a partir da pintura pode ser amplamente explorada como base composicional singular.
Abstract: This research is about the relation between the music of the American composer Morton Feldman and the group of painters of Abstract Expressionism The New York School of Visual Arts - from the point of view of himself. It will focus the way Feldman developed concepts drawn from painting in the technique and aesthetics of his music. Thus the dissertation presents a historical account of the 1950s, when Feldman and the painters met. Then we present concepts Feldman drew from painting and developed in his music. We provide analyses which allow us to understand how such concepts work musically throughout Feldman's notational history. The method of this research is based on Feldman's statements, researches about his compositional work and the analysis of pieces. Crippled symmetry, whose notation is among the most original devised by Feldman, undergoes extensive analysis. It has also been the inspiration for the composition of our work Sombras sobre o Encoberto II, We present this piece as the compositional outcome of this research. In addition to this piece, the conclusion shows how the concepts Feldman drew from painting can be vastly explored as a unique basis for the composition of music.
Mestrado
Mestre em Música
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Dean, H. A. Mark. "Illustrating Life." VCU Scholars Compass, 2006. http://hdl.handle.net/10156/1480.
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Lee, Alice Hui Fang. "The spirit of Chinese brush lines and its application to creativity in UK art and design education." Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319231.
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Kisicki, Katherine Ann. "THE BIRD." VCU Scholars Compass, 2009. http://scholarscompass.vcu.edu/etd/1778.
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I have always approached my paintings with confidence. Mark making has always been my strength, particularly in drawing, and I feel this comes through in my gestural use of the paint. I also believe I approach paintings in a trial and error manner, where experimentation has precedence over concept. To remain in the moment and focused on what I am doing at that moment is a fundamental base of both my process and, interestingly what the resulting image translates to the viewer. To know this, and to remain suspended in this moment requires a foundation of trust within my capabilities and myself. Approaching each new surface, I test various methods of applying paint. The successful methods prove to be ones that allow me to continuously build the surface into a coherent image. These methods I choose from, sometimes in sequences, as obstructions, or as starting points. In each painting, I begin differently, even if it is just a different colored ground. I have found the most success in starting with a specific method, one that exists in isolation, as a starting point. I believe that too often, I look for answers outside myself instead of looking within. I do not seek a linear trajectory for painting, and my own work, though ironically specific to its medium, should not be categorized into a neat package. If my brush is an extension of myself, then what I think and feel comes through as my own thoughts and feelings.
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Scully, Regina S. "Landscape to Mindscape." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2109.
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In each of my paintings I try to create an individual micro-universe made up of elements that resonate between the familiar and the unknown. I carve up space and hybridize disparate elements, in an effort to excavate objects and spaces from our collective unconscious. By employing different perspectives, I try to encourage an experiential view of the landscape, like the one that exists for the viewer in the physical world, where sightlines are constantly shifting. These landscapes become a rhythmic labyrinth to enter and travel through, wherein the viewer experiences his or her own personal associations.
In this thesis, I will explore the painted landscape in Western and Eastern traditions and discuss different types of landscapes as they relate to my paintings and my personal commentary on the landscape. I will also examine my painting process and my personal approach to fundamental elements including perspective, line, and color.
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Pope, Bettye. "Rhythms Of Times And Places." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2658.
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Artist Statement I am inspired by living in multiple environments and experiencing many regions of the United States. My imagery varies from references to landscapes to geometric abstractions of quilt patterns. My media consists of acrylics, oils, and pastels on supports including fabric, canvas, or paper. Mixed media allows me to add multiple layers in creating visual textures, depth, and energy to draw in my viewers. The media is glazed, flowed, dripped, sprayed, rolled, scraped, and scrubbed into my interpretations of natural elements and geometric patterns. My landscape paintings are of observations of nature, and I attempt to capture the power, motion, and energy of a moment in time. I paint from memory and purposely filter the images, simplifying and strengthening the focus of the captured moment. Rhythmic patterns in nature and seasonal light on the land are sources of my visual stimulation. My affinity for geometric shapes and patterns is sometimes expressed in abstract paintings of quilt patterns. I form rhythmic compositions and enhance the patterns with delicate brushwork and several glazed layers for added surface interest. These patterns of quilts are also reminiscent of landscapes from a bird’s eye view.
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Halkias, Maria. "Les yeux de la mémoire : the paintings of Maria Helena Vieira da Silva 1930-1946." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/835.
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Burton, Calvin. "Painting as Becoming: Reflections Between Content and Form." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd_retro/48.
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Painting As Becoming: Reflections Between Content and FormThis thesis is the culmination of my two years at graduate school. It lays out some of my ideas about painting as a particular approach to art making. The development of my work has not always followed a linear path some ideas take longer to emerge, some vices longer to recognize. The text is separated into four main sections: Form, Development, Color, and Landscape. The main issue that I explore is the relationship between abstraction and representation. Tending to be over-logical, I have avoided explicit content' in my work, because I am afraid that it will pin it down. Painting abstractly initially allowed me to exercise the other side of my brain, to avoid meaning'. But abstraction is also a language that can be assimilated and therefore does not really offer an enduring solution to the problem of content.My paintings are usually structured in a logical way: composition, color harmony and dissonance, perspective, light, and space - but my process also leaves room to explore the illogical and the absurd. I began to appropriate representational imagery into the work to weave in additional information a textual layer to frame and foil the objectivity of oil paint. This juxtaposition puts paint in the role of becoming at the same time that it puts the image in the role of disintegrating. Importantly these roles are interchangeable. The imagery itself is derived from places that have been significant to me by effecting the formation of my scattered sense of identity: my birthplace in Virginia, my upbringing in Lake Tahoe, my studies in New Hampshire and Rhode Island, and my subsequent move out of the country to Mexico, where I lived until returning to Virginia to pursue an MFA. The transitions between abstraction and representation resonate with the intersection of the personal and the collective.Ultimately, the comings and goings of interpretation that characterize my work occur through the lens of beauty. I cannot define beauty, but I maintain the belief that it can be found in painting, and that its primary function is to remind us to see.
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Crnjak, Dragana. "LandEscape." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/802.
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Shape, color and line are three basic elements I use to explore the possibilities of visual language. The process in itself is important since what is left on the paper are simply records of moments from which a work is constructed. These moments are mixtures of my memory, my everyday observation, my struggles and hopes. The starting point is always in between known and unknown, and it is always a new attempt for clarity. Rather than expressing what I already understand and know, I have a need to change my working methods quite often in order to expand my own limits. Since I moved from Serbia into the United States in 1997, landscape has been evident in my work. However, my thinking about landscape has gradually changed. I understand now that this transformation parallels both my physical and emotional transition from my homeland to America. A sense of displacement has been present through all the processes, but its meaning and how it is reflected in my work has changed. From describing the actual, physical displacement from my homeland in the earlier works, the sense of displacement now comes from the abstracted formal elements of the work itself.