The aesthetic manifestations of nothingness in contemporary visual arts practice
- Authors: Munnick, Robyn Therése
- Date: 2019
- Subjects: Art, Modern -- 21st century , Aesthetics , Visual perception , Art -- Philosophy
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/41636 , vital:36550
- Description: The purpose of this dissertation is to explore the notion of nothingness and how it [nothingness] is the conceptual and theoretical foundation for my practice. Furthermore, within this study I explicate how my art uses my mother’s battle with cancer and the subsequent void it created in me as source material for the artistic expression of nothingness. The diagnosis which followed by a physical and emotional absence of the matriarch of my family, led to an emotional trauma that triggered a feeling of nothingness within me. The overarching problem in the study is therefore how this nothingness could be expressed in my art. Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or is not anymore, and attempts to grasp what is there by not being there. In attempting to express nothingness, the research aimed to build on an exploration of the various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for my art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within my art and research, the use of further modes and materials became pivotal. This involved the use of unconventional contrasting modes within painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, PVA, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated my art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis and field notes in the form of photographic journaling. Ultimately my body of work and research validates that the idea of nothingness can be artistically explored.
- Full Text:
- Date Issued: 2019
- Authors: Munnick, Robyn Therése
- Date: 2019
- Subjects: Art, Modern -- 21st century , Aesthetics , Visual perception , Art -- Philosophy
- Language: English
- Type: Thesis , Masters , MTech
- Identifier: http://hdl.handle.net/10948/41636 , vital:36550
- Description: The purpose of this dissertation is to explore the notion of nothingness and how it [nothingness] is the conceptual and theoretical foundation for my practice. Furthermore, within this study I explicate how my art uses my mother’s battle with cancer and the subsequent void it created in me as source material for the artistic expression of nothingness. The diagnosis which followed by a physical and emotional absence of the matriarch of my family, led to an emotional trauma that triggered a feeling of nothingness within me. The overarching problem in the study is therefore how this nothingness could be expressed in my art. Nothingness, as a product of expectation, is a notion which refers to where something used to be, should be or is not anymore, and attempts to grasp what is there by not being there. In attempting to express nothingness, the research aimed to build on an exploration of the various materials and modes utilized in order to underpin the research objectives. The primary mode of delivery for my art-making process is painting. However, through strengthening the messages and meaning of the hypothesis of nothingness within my art and research, the use of further modes and materials became pivotal. This involved the use of unconventional contrasting modes within painting such as the cloth doily, thread, tubing, ceramics, food colour, spray paint, PVA, plaster, wooden boxes and fragments thereof. These materials and modes were vital in visualising and aestheticising the conceptual underpinnings of the research. As a result, this strengthened and emancipated my art from the traditional bounds of pure painting. Methods of data gathering took the form of artefacts, document analysis and field notes in the form of photographic journaling. Ultimately my body of work and research validates that the idea of nothingness can be artistically explored.
- Full Text:
- Date Issued: 2019
These aesthetics are not new: Post-Internet conditions and their effect on contemporary ideas of representation in Painting
- Authors: Grecia, Callan
- Date: 2017
- Subjects: Art and the internet , Digital media -- Philosophy , Technology and the arts , Aesthetics , Painting -- Philosophy
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/46333 , vital:25601
- Description: These Aesthetics Are Not New draws inspiration from the effect of digital technological progress on a consumer society. The Internet as a source of ubiquitous imagery reaffirms the idea that in a Post-Internet age there is nothing new, only conditions affected by a networked way of life. In this thesis I attempt to question contemporary ideas of representation and art making, specifically within the medium of oil paint, in a digitally consumed culture of instantaneous access. I interrogate the repetitive imagery that pervades our online experiences, and I speak about how I use my grasp of painterly knowledge and lexicon to replicate digital conditions in the real world to further cement my position that contemporary aesthetics, (digital, physical or both) are not new. I first introduce the reader to the idea of the Post-Internet, exploring the digital’s encroachment on our physical spaces and it’s relation to the politics of the medium of Oil Paint. I then address the concept of the Image-Object, and unpack this idea by comparing and contrasting emoji’s in relation to gestural mark making and the ascription of meaning through iconographic methods in Oil Painting. This culminates in an analysis of my physical practice in relation to these ideas, and concludes with my observations on the future of our ways of seeing, as affected by the Internet and technological progression.
- Full Text:
- Date Issued: 2017
- Authors: Grecia, Callan
- Date: 2017
- Subjects: Art and the internet , Digital media -- Philosophy , Technology and the arts , Aesthetics , Painting -- Philosophy
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/46333 , vital:25601
- Description: These Aesthetics Are Not New draws inspiration from the effect of digital technological progress on a consumer society. The Internet as a source of ubiquitous imagery reaffirms the idea that in a Post-Internet age there is nothing new, only conditions affected by a networked way of life. In this thesis I attempt to question contemporary ideas of representation and art making, specifically within the medium of oil paint, in a digitally consumed culture of instantaneous access. I interrogate the repetitive imagery that pervades our online experiences, and I speak about how I use my grasp of painterly knowledge and lexicon to replicate digital conditions in the real world to further cement my position that contemporary aesthetics, (digital, physical or both) are not new. I first introduce the reader to the idea of the Post-Internet, exploring the digital’s encroachment on our physical spaces and it’s relation to the politics of the medium of Oil Paint. I then address the concept of the Image-Object, and unpack this idea by comparing and contrasting emoji’s in relation to gestural mark making and the ascription of meaning through iconographic methods in Oil Painting. This culminates in an analysis of my physical practice in relation to these ideas, and concludes with my observations on the future of our ways of seeing, as affected by the Internet and technological progression.
- Full Text:
- Date Issued: 2017
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