False Rebus
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Other Title
Authors
Joils, Matt
Author ORCID Profiles (clickable)
Degree
Master of Creative Practice
Grantor
Unitec Institute of Technology
Date
2022
Supervisors
Fahey, Richard
Smith, Emma
Smith, Emma
Type
Masters Thesis
Exegesis
Exegesis
Ngā Upoko Tukutuku (Māori subject headings)
Keyword
New Zealand
Auckand (N.Z.)
Rhizome (Art)
painting practices
exhibitions
Deleuze, Gilles (1925-1995)
Guattari, Félix (1930-1992)
Auckand (N.Z.)
Rhizome (Art)
painting practices
exhibitions
Deleuze, Gilles (1925-1995)
Guattari, Félix (1930-1992)
ANZSRC Field of Research Code (2020)
Citation
Joils. M. (2022). False Rebus (Unpublished document submitted in partial fulfilment of the requirements for the degree of Master of Creative Practice). Unitec Institute of Technology https://hdl.handle.net/10652/6299
Abstract
False Rebus is a body of work situated in the context of contemporary painting practice and painting in the expanded field. This text discusses the relevant studio practices that contributed to its production, namely drawing, collage, construction, and painting. Drawing is introduced as a process of play and exploration discussed in relation to Deleuze and Guattari’s concept of the Rhizome. Collage is defined as taking multiple disparate elements and combining them to generate new associations. This broader concept that mirrors the haptic studio practice is used as a lens to understand and recontextualise visual information experienced online and in the urban environment. Construction is discussed in relation to painting in the expanded field and the traditionally sculptural concern of materiality is highlighted. Painting is outlined as a playful process of improvisation that involves decision-making, jokes, and temporarily adopted rules of engagement. It is also described as a psychological drama where one might face one's limitations and fears- such as the fear of failure.
This text discusses influences that contribute to this body of work including art historical precedents in the vein of pop art, minimal art, conceptual art, and contemporary painting, as well as personal experience, advertising, and the urban environment of Auckland. This exegesis finally acknowledges the limits of approaching this body of work as a text to be decoded, arguing for a viewing approach that is more weighted toward pure experience. It posits a representational painting emptied of signification.
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