I remember

Oil painting in 15 panels that was part of an exhibition at Metro Gallery, Malvern. The exhibition consisted of 10 Australian artists contributing to the theme of Climate change.

In the morning

Oil painting exhibited as part of a group exhibition. Exhibition was titled 'From Realism to Nihilism' and was of works by the Shakespeare Grove Artists. It was curated by Kirsten Rann.

The spectacle of the ordinary: painting the everyday

This presentation shows paintings that further explore my interest in depicting the complexities’ of contemporary urban life - images, concepts, and motifs from our everyday experience.

Chamber music in painting photography film

This exhibition expands upon the history, approaches of experimental film and image making. Through speculative and abstract approaches the artists appropriate images to deal with trauma, confusion and nostalgia. The artists in this exhibition use personal imagery to demonstrate abstract ideals and idiosyncratic perspectives. Work in the show will be made up of photographic prints, collage, 16mm film and video work. Through physical manipulations of the image surface, retrenching of forgotten archives and poetic layerings of time and place, this exhibition aims to examine the de-linear and personal ways artists can experiment with the image.Through incorporating work of long standing artists Dirk De Bruyn and Luigi Fusinato in contrast with the work of young artists Anna Higgins and Beth Caird, the exhibition will examine the relationship between experimental film from a pre-digital context and how it influences, echoes and evolves in a post-digital environment.

Automatic generation of traditional style painting by using density-based color clustering

In this paper, a novel approach is proposed to automatically generate both watercolor painting and pencil sketch drawing, or binary image of contour, from realism-style photo by using DBSCAN color clustering based on HSV color space. While the color clusters produced by proposed methods help to create watercolor painting, the noise pixels are useful to generate the pencil sketch drawing. Moreover, noise pixels are reassigned to color clusters by a novel algorithm to refine the contour in the watercolor painting. The main goal of this paper is to inspire non-professional artists' imagination to produce traditional style painting easily by only adjusting a few parameters. Also, another contribution of this paper is to propose an easy method to produce the binary image of contour, which is a vice product when mining image data by DBSCAN clustering. Thus the binary image is useful in resource limited system to reduce data but keep enough information of images. © 2007 IEEE.

Look down, look up : Barbara Bolt's art beyond representation

I review the thinking of Barbara Bolt in her recent book, which is informed by Martin Heidegger’s theory of art. Bolt argues that it is in the flux of art practice, where the artist responds bodily, with hands and eyes, to the encounter with the materials of practice, that visual art produces real material effects. That is, through the praxical encounter, art does not merely represent, it performs radically. Bolt thus argues for a materialist ontology of the work of visual art. I examine what Bolt means by ‘real material effects’ and ‘radical performativity’.

In developing my own project on the poetic response to visual art, particularly portraiture, I have freely adapted Heidegger’s theory of art to propose that the poet responds to the visual encounter in a manner similar to that of Heidegger’s preserver, by restraining usual knowing and looking. In this way the poet facilitates the emergence from the work of visual art of truth about being and earth, as defined by Heidegger. In my forthcoming article ‘Ekphrasis and illumination of painting’, I argue that the poet, like the artist, restrains seeing-as and operates in a mode approximating mere seeing, as these terms are defined by Heidegger and Wittgenstein.

In the present article I propose to examine the role of looking down and looking up in non-representational art, and in particular Bolt’s ‘oil stain paintings’ exhibited in the Forty-five Downstairs gallery in Melbourne in conjunction with the launch of her book.

I propose to expose some blind spots in the thinking which underpins theories derived from Heidegger. I will examine the way ‘representation’ has been constructed in twentieth-century thought, and will argue that Heideggerian truth and Bolt’s ‘real material effects’ result from the privileging of perception over knowledge. I will examine, with particular reference to portraiture, Bolt’s assertion that the referent can be rehabilitated in Western thought and traced in ‘real material effects’. I will argue that ‘representation’ is an unstable process occurring within and outside signification, and that this very instability enables us to confidently predict that all art produces ‘real material effects’, or in other words, Heideggerian truth.

The use and misuse of religious language: Zionism and the Palestinians

Every discipline which deals with the land question in Canaan-Palestine- Israel is afflicted by the problem of specialisation. The political scientist and historian usually discuss the issue of land in Israel purely in terms of interethnic and international relations, biblical scholars concentrate on the historical and archaeological question with virtually no reference to ethics, and scholars of human rights usually evade the question of God. What follows is an attempt, through theology and political history, to understand the history of the Israel-Palestine land question in a way which respects the complexity of the question. From a scrutiny of the language used in the Bible to the development of political Zionism from the late 19th century it is possible to see the way in which a secular movement mobilised the figurative language of religion into a literal 'title deed' to the land of Palestine signed by God.

Application of soluble poly (3-alkylpyrrole) polymers on textiles

Soluble conducting poly(3-decanylpyrrole) was directly applied to textiles as a nanoparticle emulsion, using a variety of techniques including hand-brushing, dipping and spray painting. These coatings were compared to those formed by chemical polymerization of 3-decanylpyrrole on the surface of the textile by solution, using vapor and spray polymerization methods. The coating formed using chemical polymerization methods had lower surface resistivity than that formed by direct application of a soluble polymer.

It was observed that applied coatings of poly(3-decanylpyrrole) showed a smoother surface morphology with a more even dispersion compared to those formed by chemical methods.

Digital alchemy : two experiments in form processing

Programmatic form-finding and the visual analysis of creative works (architecture, sound, sculpture, painting, music or dance) can be combined to develop “alchemical” processes for the computational exploration of form. This paper reports two project-based form exploration experiments using such a process. The first experiment develops a process for capturing, manipulating and generating form based on a piece of dance choreography. The second experiment explores the decompression of space and architectural elements encoded within the Duchamp painting “Nude descending a staircase”. A discussion for incorporating programmatic strategies and for developing an innovative approach to conceptual form processing based on the language of geometry is presented.

An early painter's persona as metaphor

This article analyses the marketing of an early Australian entrepreneurial female painter as metaphor in the exploration of the brand concept. It does so through the extension of her persona to her art, through examination of her diaries, letters and public documents. The use of the metaphor as a means of promulgating the 'brand as person' is discussed. Thus, the buyer of art chooses a painting with confidence because of the personality projected by the creator of the art work, in the same way as a successful brand of another product might be purchased. This article places the analysis within the context of social change of the time, giving some indication of the market and competitor positions and her motivation for differentiating herself from others. It highlights the conflict that the painter's brand caused to the artist's competitors at the time and how that affected her long-term reputation. The artist's idiosyncratic approach to painting and her vigorous self-promotion as an artist sought a reappraisal of the genre of lowly flower painting in the late nineteenth century.