Description:
This project is concerned with exploring a particular cluster of ideas and stories concerning Homecoming, most notably the presence of the Woman Who Waits for the traveller to return. Underlying the storied aspects of the visual work are the deeper intentions of soulfulness, personal therapy and social interaction. Although profoundly autobiographical, the metaphoric images I have produced are not only a means to touch others but are inclusive of a broader experience than simply my own. Throughout the following exegesis I draw on the disciplines of psychology, sociology, mythology and history, to explore the metaphoric presences of the deities Hestia and Hermes and their relationship to ideas of Home and Not - Home. Particular qualities associated with Home may, for the traveller, become symbolically embodied within the figure of The Woman Who Waits. This simple perception of The Woman Who Waits, and the process of waiting for the traveller to return was explored and expanded through autobiographic art practice combined with visual and theoretical research. Throughout the project the expression of emotive autobiographic issues through the running use of metaphor has been combined with increasing technical control and subtlety along with sustained explorations of spatial and compositional dynamics.
Description:
This project is concerned with exploring a particular cluster of ideas and stories concerning Homecoming, most notably the presence of the Woman Who Waits for the traveller to return. Underlying the storied aspects of the visual work are the deeper intentions of soulfulness, personal therapy and social interaction. Although profoundly autobiographical, the metaphoric images I have produced are not only a means to touch others but are inclusive of a broader experience than simply my own. Throughout the following exegesis I draw on the disciplines of psychology, sociology, mythology and history, to explore the metaphoric presences of the deities Hestia and Hermes and their relationship to ideas of Home and Not - Home. Particular qualities associated with Home may, for the traveller, become symbolically embodied within the figure of The Woman Who Waits. This simple perception of The Woman Who Waits, and the process of waiting for the traveller to return was explored and expanded through autobiographic art practice combined with visual and theoretical research. Throughout the project the expression of emotive autobiographic issues through the running use of metaphor has been combined with increasing technical control and subtlety along with sustained explorations of spatial and compositional dynamics.
Description:
By the beginning of World War I, the burgeoning movement for women's suffrage in Britain was facing a crisis of repression. Women protesting the British government's refusal to grant women the vote were being routinely imprisoned and sent to mental hospitals, where they faced frequent beatings and assault from those who felt threatened by changes to the established political order.
Description:
"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."
Description:
"This research project aims to provide a contemporary visualisation of "specific sites." The visualisation of these selected landscapes will draw upon and add to existing traditions of representation of this region, embedding my experiences within this dialogue."
Description:
For over seven years I have worked within the Disability sector witnessing not only the daily challenges faced by individuals with a disability, but also the barriers placed by society. Throughout this period I have become acutely aware of the lack of representation of individuals with Down syndrome within the public domain of contemporary art. This is an area which I believe also creates barriers to society's acceptance and understanding of disability.
Description:
For over seven years I have worked within the Disability sector witnessing not only the daily challenges faced by individuals with a disability, but also the barriers placed by society. Throughout this period I have become acutely aware of the lack of representation of individuals with Down syndrome within the public domain of contemporary art. This is an area which I believe also creates barriers to society's acceptance and understanding of disability.
Description:
The fictional separatist society is one of the best recognised tropes of feminist SF, or, one might say, SF that concerns itself with foregrounding and exploring gender issues, as in the work of Joanna Russ, Suzy McKee Charnas, and Pamela Sargent. Unlike texts which depict men and women either live in either a patriarchial or matriarchal gender dystopia, separatist texts usually depict fictional worlds where men and women either live in spatially separate societies, or worlds from which men have excluded altogether. Of course separatist texts can also include a gender hierarchy, with one gender enjoying more privileges and holding some sort of power over the other. In Ursula K. Le Guin's "The matter of Seggri" (1994), for instance, women are perceived to be the superior gender.
Description:
"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006."
Description:
"The thesis itself, involves some psychological and philosophical aspects and thoughts about fear as the main mover in the so called negative aesthetic. This specific method of self-expression, its possible triggers and the reasons that may initiate art creation on the basis of pessimistic and ugly imagery have not been discussed to a great degree in the past. Generally, the content of this writing is focused on the fictious correspondence between two engravers and printmakers. These invented letters serve as an exposé for practical findings and thoughts about the author's works executed during the period 2005-2006."
Description:
The Seven Valleys is an interactive 3D installation based artwork inspired by mystical writings of the Bahá'í Faith. Created as a modification of the firstperson shooter Unreal Tournament 2003 (Epic, 2003) it subverts the original paradigm of the game to create an experience of the numinous, which in spirit, is diametrically opposed to the original intent of the gameplay design. This artwork presents an exploration of, and allusion to, the often subtle and illusive concepts found in the sacred treatise The Seven Valleys (Bahá'u'lláh, 1991) in which the user engages in an experiential journey through the work. The user is faced with conditions and situations that provide motivation to question, explore and attempt to fathom the abstract sense of the numinous. Each of The Seven Valleys contains its own individual mysteries while at the same time contributing its part to the telling of a collective story.
Description:
The Seven Valleys is an interactive 3D installation based artwork inspired by mystical writings of the Bahá'í Faith. Created as a modification of the firstperson shooter Unreal Tournament 2003 (Epic, 2003) it subverts the original paradigm of the game to create an experience of the numinous, which in spirit, is diametrically opposed to the original intent of the gameplay design. This artwork presents an exploration of, and allusion to, the often subtle and illusive concepts found in the sacred treatise The Seven Valleys (Bahá'u'lláh, 1991) in which the user engages in an experiential journey through the work. The user is faced with conditions and situations that provide motivation to question, explore and attempt to fathom the abstract sense of the numinous. Each of The Seven Valleys contains its own individual mysteries while at the same time contributing its part to the telling of a collective story.
Description:
The New Art History and the Impressionist canon seem to have successfully claimed Edgar Degas as a misogynist, rabid nationalist and misanthrope whose art was both masterly and experimental. By analysing Degas’s approach to space and his self-fashioning attitude towards identity within the ambiguities of the political and artistic culture of nineteenth-century France, this book questions the characterisation of Degas as a right-wing Frenchman and artist, and will change the way in which Degas is thought about today. -- Taken from http://www.cambridgescholars.com/mapping-degas
Description:
This research project into the manipulation of spatial concepts by artists on the two-dimensional surface plane, has involved a selected study into cultural and aesthetic evolution from early civilization through to the present era. I have cast a line of inquiry into eastern, western and primitive art practices, observing the journey of chance accelerated by developments in technology. Traditionally artists utilized modes of spatial convention and techniques according to the specific cultural traditions of the time and place of their production. By contrast, contemporary artists know no such boundaries, and are able to select from a range of spatial options relevant both to current forms of expression and to a personal visual language. My own art practice has been enriched and extended, increasing my ability to challenge the notion of still life composition by reversing the traditional hierarchy of form and space through the application of a series of experiments brought about by extensive research into this spatial evolution. The research project has further assisted this development in my art practice by engaging me in a new level of understanding of the topic, informing my perceptions and increasing my ability to translate a combination of forms in space with heightened emotion and personal meaning.
Description:
This research project into the manipulation of spatial concepts by artists on the two-dimensional surface plane, has involved a selected study into cultural and aesthetic evolution from early civilization through to the present era. I have cast a line of inquiry into eastern, western and primitive art practices, observing the journey of chance accelerated by developments in technology. Traditionally artists utilized modes of spatial convention and techniques according to the specific cultural traditions of the time and place of their production. By contrast, contemporary artists know no such boundaries, and are able to select from a range of spatial options relevant both to current forms of expression and to a personal visual language. My own art practice has been enriched and extended, increasing my ability to challenge the notion of still life composition by reversing the traditional hierarchy of form and space through the application of a series of experiments brought about by extensive research into this spatial evolution. The research project has further assisted this development in my art practice by engaging me in a new level of understanding of the topic, informing my perceptions and increasing my ability to translate a combination of forms in space with heightened emotion and personal meaning.
Description:
"This thesis presents a considered artistic statement about how I experience and how I strive to embody, my notion of reality through the process of painting and drawing. It considers the activity of the creation of reality through a synthesis of perceptual and conceptual functioning. The thesis proposes that when a painted surface is viewed, the marks on this plane are arranged by the mind of the viewer to form an image which becomes infused with meaning. The created visual structures, in this way, promote a formerly undiscovered, conceptual reality."
Description:
The investigations surrounding the topic ‘The Landscape of My Life’ questions whether it is possible for a landscape to delineate the way in which we live our lives. For a period of thirty-two years my home has been a historic rural property comprising a dwelling and outbuildings on twenty acres of undulating countryside at Carngham. The work conveys the story of my life at this locale and pursues the motives behind the purchase of the country property, the experiences and remembrances that exist from this period of time and reflects upon the implications of a way of life over the last three decades. While considering the impact that a landscape can have on individual lives, it became important to consolidate the insights that surfaced for me with respect to my own life and works and compare it with that of other selected landscape artists. This comparison took into account personal and family backgrounds, artistic techniques, relationships with the land and the motivations that resulted in the depiction of particular landscapes. The result of these observations led to a consideration that not only can a landscape define the way in which we live our lives but, also identifies an affinity between human beings and the environment.
Description:
The investigations surrounding the topic ‘The Landscape of My Life’ questions whether it is possible for a landscape to delineate the way in which we live our lives. For a period of thirty-two years my home has been a historic rural property comprising a dwelling and outbuildings on twenty acres of undulating countryside at Carngham. The work conveys the story of my life at this locale and pursues the motives behind the purchase of the country property, the experiences and remembrances that exist from this period of time and reflects upon the implications of a way of life over the last three decades. While considering the impact that a landscape can have on individual lives, it became important to consolidate the insights that surfaced for me with respect to my own life and works and compare it with that of other selected landscape artists. This comparison took into account personal and family backgrounds, artistic techniques, relationships with the land and the motivations that resulted in the depiction of particular landscapes. The result of these observations led to a consideration that not only can a landscape define the way in which we live our lives but, also identifies an affinity between human beings and the environment.
Description:
A brief note on the birth, life and art works of Janet Korakas is presented. She suffers interminably for her art, harbours a positivity towards art, life and the universe which is infectious and reaffirming and as a person, she exudes a bohemian eccentricity that is sustained by an unrelenting passion for her chosen expressive medium of clay.
Description:
This investigation takes an artistic autoethnographic journey in search of the haunted self. As an entangled form of research, it weaves the narrative and analytical into reciprocal relationships. Its methodology and conclusions tell a ghost story. An investigation of one’s haunted self is by nature an examination of personal ghosts and family shadows. This research documents a process of discovery, of looking for and finding my interior haunted house and the psychic home of family trauma and secrets. An examination of this tender and volatile site calls for intuitive and caring exploration and reading. Confinement during Covid-19 pandemic lockdowns further brought into focus my actual home as a site of exhumed memories. There, I developed strategies for attunement to the signs and stories of family ghosts. This process led to newly imagined narrative approaches for artmaking. The story of the haunted house is dark and curious, offering a metaphor for the negative psychological space of the family home, and embracing dystopian aesthetics. Metaphors play with meaning and draw symbolic likenesses to make their language expansive. This research explores how a visual language made for ghost story telling can draw upon the symbolic and metaphorical to express the nebulous and unsettling. It also examines the inherent spectrality of some arts technologies and their capacity to cultivate space and give voice to our phantasmagoric other. This investigation has also been informed by the practice of two artists for whom invocations of the ghostly are conceptually fundamental. Through engagement with their haunted selves, Tracey Moffatt and Louise Bourgeois provide raw access to the personal, familial, and societal shadows which haunt us all. Autoethnographers prefer to reveal meaning through process rather than declarative statements. The journey into my imaginary shadowlands culminates in the retrieval of a haunted object as artwork. Invoking the smoke and mirrors of nineteenth century spiritualism, this work embodies the notion of the artist as medium, calling upon tacit experience to bring forth image, then dialogue, and therein, the communion to be found in shared meaning. Partial fulfilment of requirements for Master of Arts
Description:
This investigation takes an artistic autoethnographic journey in search of the haunted self. As an entangled form of research, it weaves the narrative and analytical into reciprocal relationships. Its methodology and conclusions tell a ghost story. An investigation of one’s haunted self is by nature an examination of personal ghosts and family shadows. This research documents a process of discovery, of looking for and finding my interior haunted house and the psychic home of family trauma and secrets. An examination of this tender and volatile site calls for intuitive and caring exploration and reading. Confinement during Covid-19 pandemic lockdowns further brought into focus my actual home as a site of exhumed memories. There, I developed strategies for attunement to the signs and stories of family ghosts. This process led to newly imagined narrative approaches for artmaking. The story of the haunted house is dark and curious, offering a metaphor for the negative psychological space of the family home, and embracing dystopian aesthetics. Metaphors play with meaning and draw symbolic likenesses to make their language expansive. This research explores how a visual language made for ghost story telling can draw upon the symbolic and metaphorical to express the nebulous and unsettling. It also examines the inherent spectrality of some arts technologies and their capacity to cultivate space and give voice to our phantasmagoric other. This investigation has also been informed by the practice of two artists for whom invocations of the ghostly are conceptually fundamental. Through engagement with their haunted selves, Tracey Moffatt and Louise Bourgeois provide raw access to the personal, familial, and societal shadows which haunt us all. Autoethnographers prefer to reveal meaning through process rather than declarative statements. The journey into my imaginary shadowlands culminates in the retrieval of a haunted object as artwork. Invoking the smoke and mirrors of nineteenth century spiritualism, this work embodies the notion of the artist as medium, calling upon tacit experience to bring forth image, then dialogue, and therein, the communion to be found in shared meaning. Partial fulfilment of requirements for Master of Arts
Description:
"The project concerns itself with the human condition and the search for meaning, specifically, from the perspective of a woman artist. This search for meaning is expressed as a journey. The journey of a fictional woman protagonist through landscape is the metaphor used to convey these ideas."
Description:
There is a searchable index and brief description of all works held in the University of Ballarat Art Collection. The University seeks to develop and maintain a permanent collection of high quality works of visual art for the cultural enrichment and research purposes of its student body, staff and wider community. The art collection consists largely of works by Australian artists, the earliest of which is a work by Posenby Carew-Smith dated 1879. An interesting early donation is Waterloo Claim. This work depicts the Ballarat goldfield at the location on which the Ballarat School of Mines (SMB) was built. Works from the 1920s and 1930s showcase students from the Ballarat Technical Art School, but the greatest period of art collection occurred at the Ballarat Teachers' College during the 1950s and 1960s. The Art Collection at the Ballarat Teachers' College had a modest beginning in 1951 when two Lionel Lindsay woodcuts were purchased for the College (then located at Dana Street). These were followed with works by Max Middleton and Vogel; and in 1954 works by Kenneth Jack and Tate Adams were purchased. When the College moved to the new Gillies Street building in 1958 the collection grew steadily with acquisitions by Rupert Bunny, Peter Clarke, Max Coward, Arch Cuthbertson, William Frater, James Gleeson, Pro Hart, George Lambert, Murray Griffen, David Newbury, and many others. Leonard French was commissioned to paint the mural Tapestry in 1959. Another mural, Symbols of Life by George Johnson, was commissioned in 1965. These two works, along with Inge King's welded steel sculpture Organic Form, was purchased with funds raised by student and staff contributions. Following the merger with the tertiary division of the School of Mines to form the Ballarat Institute of Tertiary Education, then the Ballarat College of Advanced Education, Ballarat University College and finally the University of Ballarat, these works have been augmented with various contemporary prints, ceramics, graphics, paintings and sculptures by Australian artists, including work by graduates, postgraduates and staff of the University, such as Claire Blake, Peter Blizzard, Bridget Bodenham, Loris Button, Maryanne Coutts, Neville French, Victor Greenhalgh, Nornie Gude, Gwen Hansen-Piggott, Ian Hemingway, Duncan Lannan, Ros Lawson, Geoff Mainwaring, David Noonan, Peter Pilven, Iain Reid, Ewan Ross, Anne Saunders, Wes Walters, Marcus Wills, Carole Wilson and Doug Wright.
Description:
The 3D coordinator from the University of Ballarat, Australia, presents a review on a woodfire exhibition 'Encrusted', conducted at Skepsi Gallery. The exhibition not only presented the arts but also organised an associated forum and lecture on ceramics.
An inquiry into Suiboku and Kano School influences on Rococo and Romantic landscape painting through Claude Lorraine (1600-1682) and Salvator Rosa (1615-1673)
Description:
"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."
Description:
"This research project examines the impact and influence of Chinese and Japanese ink landscape painting on the genre of Grand Manner Classical and Romantic landscape painting in Europe, from its beginnings as an independent genre in the 17th century. Specifically, the grand theme of woods and rivers will be investigated and its stylistic and philosophical relationship to Chinese and Japanese aesthetics demonstrated. The work examines how Far Eastern landscape painting conventions and techniques can be effectively acquired, and practically applied to painting in the manner of Classical and Romantic landscapes. [...]The aim of the investigation is to contribute to our deeper understanding of the genesis of this important style of artistic representation, and give fuller credit to the initiators of the technique and to those who realised its potential in the field of Western art."
Description:
Lyotard's claims concerning the postmodern have often been misunderstood or misrepresented. Lyotard Reframed provides an analysis of Lyotard's most influential writings on the postmodern alongside a detailed commentary on his broader philosophy, demonstrating and clarifying his work's ongoing relevance to creative endeavour and debates concerning the value and significance of the visual arts. It also situates Lyotard's discussion of the postmodern within the context of his other key concepts: the figural, the libidinal and the sublime. Accessible in style and approach, Lyotard Reframed employs numerous examples drawn from the arts to critically examine and evaluate the nature, history and significance of these important concepts and explore their respective links with phenomenology, Marxism, structuralism, psychoanalysis and deconstruction.