Who's been sitting in my chair?

A photograph of an unusually large sculpture is used to generate questions to stimulate mathematical thinking.

Beyond mimesis : place, interpretation and response

My study examines the subjective nature of artistic interpretation through the notion of mimesis as process or transformation of material. Influential factors that mediate in the artistic process, such as memory, reflection and an awareness of cultural analogy and metaphor, are examined and related to a specific project in the studio, where the mediation process is further influenced by the materials used to produce the images. My studies of the concept of mimesis have revealed an intermediary realm that exists in the space between empirical reality and its interpretation. Throughout history the process of mimesis has been integral to all forms of the arts. In Plato's time the production of an image that simulated things as they appeared to the eye was considered a desired ideal. Aristotle later introduced developments which extended this concept to include a refiguring or reforming of material derived from the original source, making new connections between existing factors and in this transformation bringing new meanings to a symbolically constituted world. This discussion of the representation of reality, the influence of a dialogue between notions of imitation and the recreation of material continues throughout the exegesis. My study emphasises the interpretive stage of the mimetic process where a consideration of these themes is most relevant and some of the factors that can influence its outcome. It is my opinion that the production of images in response to the particularities of place can be defined in three stages. Firstly, the experience of the place; secondly, the beginning and maturation of the idea or concept; where mimesis takes place, and thirdly, the production of the art work in response. This process is illustrated in Part 2 of the exegesis, where the development of the studio work is documented and linked with the themes discussed in Part 1. The geographic site or place I selected to study is adjacent to Mt. Noorat, a volcanic site in the Western district of Victoria; the surrounding plains are littered with scoria that has been thrown out of the volcano thousands of years ago. Early British, Scottish and Irish settlers to this region used the stone to construct fences reminiscent of their homeland, through this activity they cleared the land and confined and protected their stock. My interests are in factors that include - the material of the stone, notions of enclosure and safety, of boundaries and circumscribed space, and of the cultural reflection that has taken place in this reconstruction of Eurocentric vision. These walls also represent the means by which land was enclosed and property defined, moving from a situation of public access to notions of ownership and the annexation of land for individual gain. Around each point of eruption, the craggy volcanic scoria has been used to create a constructed landscape which both symbolises and mirrors the Anglo - Celtic origins of the people. I have used the legend of Narcissus to illustrate the self-reflective and introspective processes that the settlers invoked in their attempts to come to terms with a strange land. I consider that the story of Narcissus, who fell in love with his own reflection, finds a parellel in the creation of the walls. The re-creation of artifacts from their own cultural environment provided the settlers with a familiar 'face' in an alien world; a reassurance of the familiar in an unfamiliar terrain. Part of this study is an investigation of this notion of landscape as cultural reflection. Geographers have long known that landscape is a cultural construct, an historically evolving ideal manifested in painting, prints and drawings as well as poetry, gardens and parks. One can view these constructions as illustrations or images of meaning which constitute representations of cultural ideals. The neo-classical influence reflected in the paintings of artists who accompanied the early expeditions to Australia demonstrates these themes. The medium of the mirror provides the opportunity to suggest aspects of a cultural reflection and an awareness of identity that has relevance to contemporary Australian culture, therefore, I have allowed it to play a major role throughout this study. Its role in mimesis, firstly, as a reflection in an imitative sense is established, then in its refigurative role, in which the similarities between the original and the reformed rely more on correlative factors than representation. I have used examples from the history of art to illustrate this potential. The formation and development of a narrative involving reflection threads throughout the thesis, both in the visual presentation and in the exegesis. The production of a body of paintings, drawings and sculpture reflect my interpretation and response to the particular site. The correspondences between these works and my theoretical concerns is articulated in the exegesis. The metaphor implied by the use of the walls as agents of enclosure also refers to the capacity of the individual to be confined by notional boundaries and restrictive practices where totalising systems of thought dominate theoretical debate and restrict its freedom. I have used images where gaps in the walls represent the potential implicit to the concept of liminal space, where the spectator moves from one physical space to another and from one stage of development to another. The threshold of this opening in the walls becomes the site where transformation can take place, a metaphor for the mimetic process where the initial experience is translated and transformed into the final product. The paintings, drawings and other works in this series fulfil the role of marks on the surface of the mirror, separating the initial experience from the processes of memory, reflection and speculation. The works draw attention to the materiality that they represent and yet provide the opportunity for new insights and experiences, allowing the subjective nature of artistic activity to combine symbolic elements relating to the site, resulting in the production of meaning.

Material thinking : the theory and practice of creative research

This intimate account of how ideas get turned into artwork—including dance performance, film, sound installation, sculpture, and painting—looks at how the material thinking that art embodies produces new understandings about individuals, their histories, and the cultures they inhabit. Discussing the philosophy of signs (images, text, and their interaction), the psychology of visual perception, and the overarching notion of mythopoeic place-making, this intellectually wide-ranging and anecdotally narrated primer provides a fresh perspective to the concept of inventing. All active practitioners in the fields of performance, media, film, museum, painting, sculpture, and cultural studies will benefit from this look at how artists participate in the conceptual invention of their world.

Protecting public art

A documentation and discussion of the volunteer based Protect Public Art! pilot project that aims to create an inventory of culturally significant outdoor sculptures and monuments in Victoria, gauge community awareness of public art and outdoor cultural heritage and identify opportunities for future projects. It clearly shows that working with volunteers requires specialised knowledge and planning.

The development of visual idioms in the context of abstraction

Argues that innovation in the visual arts can only proceed through recognising the strong and vibrant historical links and traditions. Within the discipline of abstract sculpture there is a strong bond to the past which does not detraditionalise its practice rather, it assists in explaining underlying principles and motivations that are still evolving today.

Mysterious friend

This small horse sculpture showcases a thematic concern with mythology and the transcendent nature of the horse in myth.

Water in the Indic Traditions

The essay critically discusses the predominant role played by water in the lives of people from Vedic times to the present day, in the Hindu world. A number of ceremonies both happy or auspicious-making and secular have been associated with water. Several hymns of the Vedas, Brāhmanas, Mahābhārata, Āgamic and Purānic texts are drawn upon to bring out the legends and myths, and genuine beliefs, connected with water that underscore the sacred and profane, purificatory, healing and resuscitating dimensions of water. The essay treats readers to many ancient motifs concerning the pervasive value and utility of water. These comprise, variously, sacrifice, fertility rites, water-medium birth, divine metamorphosis, self-conceiving cosmic birth, totemism life-cycle rites, sanctifications, consecration and installation of icons and edifices, food rituals, monsoon rites, to pacifications, possession and exorcism, death, after-life and rebirth rituals. Reference is also made to the ecology of water resources, the economy of water scarcity, ‘war-wars’ or water imperialism, and water justice in the socio-political arenas of post independent India, in a rapidly liberalising and globalising world. In that regard practical applications of the knowledge-base are explored through the work of NGOs and Water Swamis in the subcontinent.

Wind in the billows

Wind in the Billows is metaphoric of how time and place intersects with life. I wanted to capture how our journey through life can be sometimes as surprising as the way the wind might blow a dress. Being snared on the branch of a tree in Geelong, is how I feel having ended up living in Geelong myself after growing up in New-Zealand and living in many parts of the world. The colonial style dress was made with layers of steel wire mesh and painted with enamel paint to replicate linen. Colonial style encompasses my own identity with Australian and New-Zealand female ancestors, and the heritage aspects of Geelong. These are strong factors in me being able to have a connection to Place away from my homeland.

Early Connections : reflections on the canonical lineage of Southeast Asian temples

Temples were constructed across Southeast Asia following the spread of Brahmanic/Hindu culture between the fifth to eight centuries CE. Epigraphic evidence, architectural and stylistic similarities between temples in the region are strongly indicative of historic cross cultural links between the traditions. This paper presents the findings of a research project that pieces together fragments of evidence from early temple sites in Southeast Asia to establish the linkages between the Southeast Asian temple building traditions. The focus of the paper is on tracing the canonical connections between these traditions through an examination of temple sites in Cambodia and Java respectively. The legacy of this ancient diasporic movement remains celebrated today in the admiration of Southeast Asian monuments such as Angkor Wat and Prambanan. However this architecture evolved over time through a process of long experimentation with philosophies, world-views, and methods. . In order to permit a deeper examination of canonical connections, the authors use methods such as photogrammetry, digital and physical models to reconstruct the architectural forms. A detailed analysis of the canonical geometry and compositional form of these temples is undertaken with reference to Indic texts and temples. Comparing the relationships between cosmology, geometry and physical form in this earlier sites with both Indian and developed Southeast Asian models, it is intended that its generative role within Southeast Asian architectural historiography can be clarified and more fully celebrated.

Strong spiritual engagement and subjective well-being : a naturalistic investigation of the Thaipusam festival

The existence of a positive relationship between spiritual engagement and well-being is currently based on weak correlational evidence, generally in Western contexts. This study advances understanding through a naturalist, longitudinal study of 226 people, including Malays, Chinese, and Indians, experiencing the Hindu Thaipusam festival in Malaysia. We measured the subjective well-being of people with varying levels of engagement—from nonobservance or simply observing the festival to extreme engagement. Each person was assessed 3 months before, 2 weeks before, 2 weeks after, and 4 months after the festival. We found that the subjective well-being of those with the most extreme level of engagement was permanently higher than other groups. The well-being of those with a strong, but less extreme engagement rose at the time of the festival and remained elevated. The findings are discussed in relation to homeostatic theory of well-being and the potential benefits of spiritual engagement.

Phillip doggett-williams : no climate for change

Written article about the artist Phillip Doggett-Williams published through his exhibition catalogue for the 2012 exhibition 'No Climate For Change' held at Montalto Winery and Scultpure Park, Red Hill, Victoria, 2012

Bunker-de-bunk 2012

With Vesna

The dance questioned ideas of animacy and inanimacy, staging a conversation between and amongst sculptural and human presences.