Practising uncertainty in search of something strangely attractive: An inquiry into the mechanics of a painter during the practice and viewing of painting
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Other Title
Authors
Wilson, Amber
Author ORCID Profiles (clickable)
Degree
Master of Design
Grantor
Unitec Institute of Technology
Date
2010
Supervisors
Drayton, Jo
Barnett, Cassandra
Barnett, Cassandra
Type
Masters Thesis
Ngā Upoko Tukutuku (Māori subject headings)
Keyword
contemporary abstract painting
painting practices
premeditation
intuition
painting practices
premeditation
intuition
ANZSRC Field of Research Code (2020)
Citation
Wilson, A. (2010). Practising uncertainty in search of something strangely attractive: An inquiry into the mechanics of a painter during the practice and viewing of painting. Exegesis submitted to Unitec New Zealand in partial fulfilment of the Masters of Design by Project.
Abstract
This document traces the development of a studio-based project concerned with gaining understanding about the mechanics of a painting practice and the uncertain fugitive behaviour of painted images. Beginning with the concepts of irregularity and repetition the project moves from opaque yet promising ideas, to focus on painting processes, then to an investigation into perception. Connections are drawn between decorative patterns, chaos theory, aesthetics, painting procedures, formal conventions and the activity of viewing. Underpinning the project is a driving tension between two opposing attitudes towards making. The desire to operate in a premeditated manner and acknowledge the intuitive poses a situation to be resolved through the project. This project sits within a broader context of contemporary abstract painting. This terrain is characterised by its adoption of both modernist and post-modernist attitudes and strategies; a privileging of formal values coupled with ambivalence towards strict conventions or purity in aesthetics and meaning. Key painters located in this realm and identified with are Mary Heilmann, Tomma Abts and Deanna Georgetti. These painters share an interest in the depiction of ambiguous abstract forms in a close yet expansive pictorial field. They also adopt a contemporary, and sympathetically ironic view on the seriousness of both modernism and post modernism. Bridget Riley has also been relevant to the research in regards to her ideas on colour and perception. The works produced during the project, and documented here, make manifest the practicing and joining together of these ideas.
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