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Virtual Nature: A practice-led enquiry into the relationship between painting and vernacular photography through the process of the painted monotype

Bullen, Leah Louise

Description

My practice-led research explores the relationship between painting and vernacular photography through the process of painted monotypes. This project has developed from an ongoing fascination with the visual qualities of photography and what happens when you translate photographs into other material forms, such as painting. The aim of this project is to develop images that interrogate how painted monotypes provide a distinctive interpretation of ...[Show more]

dc.contributor.authorBullen, Leah Louise
dc.date.accessioned2019-03-07T23:39:28Z
dc.date.available2019-03-07T23:39:28Z
dc.identifier.otherb59287007
dc.identifier.urihttp://hdl.handle.net/1885/157027
dc.description.abstractMy practice-led research explores the relationship between painting and vernacular photography through the process of painted monotypes. This project has developed from an ongoing fascination with the visual qualities of photography and what happens when you translate photographs into other material forms, such as painting. The aim of this project is to develop images that interrogate how painted monotypes provide a distinctive interpretation of embodied experience through their visual, material and sensory qualities. Today, like no other time in history, photography is embedded in our daily lives through hand-held devices and the interface of the digital screen. My research examines how this embedded experience of the photographic relates to the processes and visual qualities of the painted monotype. The project is focused on three primary locations as subject matter: the aquarium, the botanical glasshouse and the habitat diorama. Through my research I explore how these sites function in optically and conceptually similar ways to the world of images, through shared notions of virtuality and indexicality. This research is informed by the work of Édouard Vuillard, Mamma Andersson, Peter Doig, David Hockney and the landscapes of Gustav Klimt. These painters interrogate the territory between painting and lens-based images in very specific ways, relating to visual perception, embodied vision, figure and ground relationships, and visual textures. In a theoretical context, my examination of the relationship between painting and photography has been motivated by the writings of Elizabeth Wynne Easton, Aaron Scharf, John Berger and Russell Ferguson; while Anne Friedberg, Rob Shields, Nicholas Mirzoeff, Geoffrey Batchen, Kris Paulsen and Johanna Love have been instrumental in determining a connection to the virtual and the index in my research.
dc.language.isoen_AU
dc.subjectPainting
dc.subjectcontemporary painting
dc.subjectcontemporary visual culture
dc.subjectmonotype
dc.subjectwatercolour
dc.subjectwatercolor
dc.subjectgouache
dc.subjectvernacular photography
dc.subjectsnapshot photography
dc.subjectpainting and photography
dc.subjectvisual perception
dc.subjectembodied vision
dc.subject19th century photography
dc.subject19th century visual culture
dc.subjecttranshistoricity
dc.subjectvirtuality
dc.subjectfigure and ground relationships
dc.subjectfalse attachments
dc.subjectcollage
dc.titleVirtual Nature: A practice-led enquiry into the relationship between painting and vernacular photography through the process of the painted monotype
dc.typeThesis (PhD)
local.contributor.supervisorWaller, Ruth
local.contributor.supervisorcontactruth.waller@anu.edu.au
dcterms.valid2019
local.description.notesthe author deposited 8/03/2019
local.type.degreeDoctor of Philosophy (PhD)
dc.date.issued2018
local.contributor.affiliationSchool of Art & Design, Research School of Humanities & the Arts, College of Arts & Social Sciences, The Australian National University
local.identifier.doi10.25911/5c8236f7a1cb6
local.mintdoimint
CollectionsOpen Access Theses

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