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

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dc.contributor.authorBullen, Leah Louise
dc.date.accessioned2019-03-07T23:39:28Z
dc.date.available2019-03-07T23:39:28Z
dc.date.issued2018
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.en_AU
dc.identifier.otherb59287007
dc.identifier.urihttp://hdl.handle.net/1885/157027
dc.language.isoen_AUen_AU
dc.subjectPaintingen_AU
dc.subjectcontemporary paintingen_AU
dc.subjectcontemporary visual cultureen_AU
dc.subjectmonotypeen_AU
dc.subjectwatercolouren_AU
dc.subjectwatercoloren_AU
dc.subjectgouacheen_AU
dc.subjectvernacular photographyen_AU
dc.subjectsnapshot photographyen_AU
dc.subjectpainting and photographyen_AU
dc.subjectvisual perceptionen_AU
dc.subjectembodied visionen_AU
dc.subject19th Century photographyen_AU
dc.subject19th Century visual cultureen_AU
dc.subjecttranshistoricityen_AU
dc.subjectvirtualityen_AU
dc.subjectfigure and ground relationshipsen_AU
dc.subjectfalse attachmentsen_AU
dc.subjectcollageen_AU
dc.titleVirtual Nature: A practice-led enquiry into the relationship between painting and vernacular photography through the process of the painted monotypeen_AU
dc.typeThesis (PhD)en_AU
dcterms.valid2019en_AU
local.contributor.affiliationSchool of Art & Design, Research School of Humanities & the Arts, College of Arts & Social Sciences, The Australian National Universityen_AU
local.contributor.authoremailleah.bullen@anu.edu.auen_AU
local.contributor.supervisorWaller, Ruth
local.contributor.supervisorcontactruth.waller@anu.edu.auen_AU
local.description.notesthe author deposited 8/03/2019en_AU
local.identifier.doi10.25911/5c8236f7a1cb6
local.mintdoiminten_AU
local.type.degreeDoctor of Philosophy (PhD)en_AU

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