Alchemy & ambiguity : poetic responses to visual art, primarily portraiture

The author critiques the contemporary definition of poetry responding to art (the verbal representation of visual representation), and shows that this process is unstable and introduces changes, and by this means the visual work of art and the poem complement each other to influence the viewer/reader to produce new meanings.

Pre-service visual art teachers’ perceptions of assessment in online learning

This paper reports on a study conducted into how one cohort of Master of Teaching pre-service visual art teachers perceived their learning in a fully online learning environment. Located in an Australian urban university, this qualitative study provided insights into a number of areas associated with higher education online learning, including that of assessment, the focus of this paper. Authentic assessment tasks were designed within the University’s learning and teaching framework of constructive alignment and were sequenced across the three semesters of the visual art program. Analysis of data collected through a questionnaire and semi-structured interviews revealed that participants largely held very positive attitudes about the suite of online assessment tasks, particularly in light of (a) the collaborative learning that took place, (b) the nature, structure and sequence of the tasks, and (c) the ways in which the tasks contributed to their workplace readiness.

Cameras and body memory create new blends of performance with visual art practice

I propose that a learnt somatic experience of dance can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. I have developed two series of art works of prints and video made in response to the Australian landscape. By analyzing my method of movement and photography I will describe how an embodied dance language can result in a material outcome – a series of drawings of light and movement, a body signature made possible through old and new technology. I have activated a performative state while capturing images discovering new ways of using technology reliant upon my knowledge of dance, performance and photography. Making a human size camera to make analogue prints I gained an intuitive knowledge of light – a skill that has become foundational in performance and photography. In response to space and light in the Australian landscape I then built a custom made camera that allows for the longest possible time to capture an image. I move while taking the image and use the camera as if an eye at the end of my arm. In this way I activate dance skills and embodied knowledge of space, timing and light, opening up a radical space for new thinking, making and performing.Furthermore this process engages memory and sentiment embodied through age. Many artists have responded to the unique qualities of the Australian landscape and by using a performative/photographic approach I have engaged with my own body memory. Being brought up in the landscape and training in ballet my body has acquired memories at a cellular level. My method has given memory a voice. In doing these works I have become conscious of how unconscious memories of the space and light in the landscape is a movement vocabulary activated in a way that ‘feels’ like dancing. As an ageing person this experience is profound and the resultant materialisation of the photographs and videos leave a material record of the event. The sentiments evoked through my process bridge the past with the present, the body with the mind, memory with body and space connecting disciplines in a new way.The materialisation of artworks itself continues cross-disciplinary processes using a technique that is a continuum of the performative. Through using technology I release memory of the landscape and pixel by pixel build imagery that relies on and is a part of the performative process. It is a photographic performance dance manifesting as pigment on paper exhibited a gallery context. The exhibition allows a space for the viewer to respond - re-membering the universal the act of moving. The works titled ‘body signatures’ and ‘Fly Rhythm’ become a communicative device in the gallery context.My paper through an analysis of process and methods used in making the two series will talk to several of the subjects listed and reveal a new way of connecting performance and visual art and old and new technologies.

Improvisation in visual art practice using a photographic process

In this article I discuss how I have come to understand embodied processes in my visual art practice using photography. I danced professionally for 25 years and performed in various contexts including classical ballet repertoire, contemporary dance, and commercial dance. I choreographed for various productions working with a group of dancers for seven years before studying visual art. I experienced a particular sense of embodiment as a live performer in which prescribed movements were learnt, performed and repeated as if second nature. Transitioning into a conceptually based visual art practice the creative process was flipped around. Using painting, sculpture, performance (in a different context) and photographic methods I explored ideas from which forms such as video/audio installations, photography, performance art and painting emerged mostly in a gallery context. Although I still think of forms of movement as content, in a visual art practise the idea or concept invokes form.

The use of visual art in judging clinical competence in the operating suite

This research evolved out of the need to design and validate an instrument to assess nursing competencies in the operating suite. The study was an empirical investigation of the use of analytical and holistic rubrics to determine various levels of performance including inter-rater reliability. Three video clips that captured nurses performing as instrument nurses in the operating suite were recorded and used as prompts by the expert raters who judged the performance of the candidates in each video clip using the rubrics. Gaining consent for recording the video clips in the operating suite was difficult, creating a barrier to conducting this research. Ethical issues were addressed, which included editing of the video clips and removal of sound as stipulated by the Human Research and Ethics Committee. Despite the barriers to using visual art in research, this study produced acceptable inter-rater reliability in determining various levels of performance of the instrument nurse in the operating suite.

Body of my ancestors: exploring Wadawurrung dreaming through visual art

Body of My Ancestors: Exploring Wadawurrung Dreaming Through Visual Art. This research project uses traditional and contemporary art practices to reestablish, enhance and form new connections to Aboriginal culture. The overall aim maintains and revitualises Wadawurung cultural practices and their artefacts, along with creating new knowledge for future generations.