Abstract art : pain and discomfort

Abstract art is often the most baffling to a viewer who may search in vain for a figurative reference or recognisable element. Abstraction may refer to "art that stylises, simplifies, or deliberately distorts something that exists in the real world" (Heller, 2002: 14). Further along the spectrum, however, is abstract art that is non-representational or non-objective and is based on the isolation or interplay between shapes, colours and forms.

The aim of this article is to illustrate how non-objective art can cause discomfort and pain. Here I am using the term ‘non-objective’ to refer to art that does not have recognisable and identifiable imagery. I will make a link between Munch’s The Scream or The Cry and non-objective painting, and argue for a similarity of intent between these works, the works of Kandinsky and of artists loosely described as ‘Op artists’.

Terry Matassoni: Multitude and solitude

A solo exhibition held at Melbourne Painting and Sculpture, Australian Galleries, Collingwood 26 June - 15 July 2007

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

The Great East Window of York Minster

This inquiry into the meaning behind the images of this vast stained glass window has uncovered a complex theology of the Mass; replies to Lollard 'heretics'; and has identified threats to the power of the Church at this critical time in English history at the beginning of the fifteenth century.

Photography towards painting : the techniques of large contact negatives

Investigates the relationship between painting and photography, with a special focus on techniques using large contact negatives and digital applications. The thesis is comprised of a written exegesis that contextualises and informs upon an exhibition of photographic and digital inkjet montages. It discusses the theoretical and structural issues underpinning the conceptual basis of the research and elaborates upon the applications and processes involved in producing each exhibited image.

Stand and deliver

Stand and Deliver is an installation that incorporates elements of video, painting and drawing within the format of the lecture performance to pursue a subjective engagement with feminist histories.

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.

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.

Light play

An abstract play of light, colour, geometric shapes and patterns synchronised with synthesised music. The image patterns have been created by scratching, drawing, painting and overlaying directly on clear and opaque film and fragments of photographed positive and negative images.

House for Heraclitus

Notions of Australian identity are still being constructed. In landscape painting, problematic differences of possession, ownership, spirituality and ethnicity are frequently highlighted against perceptions of what landscape looks like and how we might begin to imagine our relationships to where we live. This thesis has explored strategies employed in landscape construction. It has involved establishing connections between landscape painting and alternate disciplines that investigate landscape values, many of which aspire to the successful habitation of our environments into the future.

Gidal's materialist film

This paper belatedly re-evaluates Peter Gidal’s texts Materialist Film (1989) and Structural Film Anthology (1976) for contemporary use within digital media moving image production. Materialist film’s direct methods reproduce Abstract Expressionism’s essentialism in painting and sculpture and can be related to Samuel Beckett’s minimalism, of which Gidal has also written. Gidal’s texts are recounted in relation to the splitting of the avant-garde in two by Peter Wollen in 1975, a move that subjugated materialist film in favour of an emergent feminist counter cinema.

Painting that moves : digital realism and the single moving image

Explores space and object relations in a digital 3-D animation production, "Moving-Image". The exegesis examines these relations through an analysis of pictorial realism in painting. The illusion of three dimensional forms in the space of the computer screen is contextualised by investigation of the work's underlying digital conditions.

L. Bernard Hall and the feminine in Australian painting 1885-1935

This thesis draws on images to explore the processes by which an individual - Lindsay Bernard Hall - and a categorical concept - the feminine - became devalued in Australia's national tradition. It celebrates Hall's contribution to Australia's cultural heritage and the significance of his art in the visual record of modernising womanhood.