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Browsing Visual Arts by Subject "Abstraction"
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Item Open Access A Troubling, Soft Underfoot(2021-03-08) Chang, Shea Lynn; Jones, Janet A.A Troubling, Soft Underfoot delves into the spatiality of complex otherness, and investigates pluralistic, non-delineated and deviant embodiments of place, race, gender, and sexuality through cross-bred processes of drawing, painting and sculpture. Through thin washes of pigment extended onto aluminum, a disquieting exchange is generated amidst thresholds in contemporary drawing, painting and sculpture; the resulting work takes shape between the spaces of control and accident, opacity and transparency, porosity and rigidity, alignment and disruption, seen and unseen. The multiple and mutable optical and physical formations in this work propose a reconsideration of the thresholds between all things, organisms, animals and humans, to uncover the invisible symbiotic entanglements in which we all exist.Item Open Access Art Through Sensation: Unfolding Image and Text Together, Through Bacon, Bergson and Jung(2023-12-08) Delisle, Philip George; Lau, Yam K.This book proposes an experiment: to unfold image and text together. Working in reverse, it begins with the painting processes of Francis Bacon (as analyzed by Gilles Deleuze), the metaphysics of philosopher Henri Bergson and the psychology of Carl Jung. The book attempts to build an in-between; to start with givens and fill in the space that blends them together into a smooth transition (intensity). Bringing ideas from philosophy, psychology and art together, and utilizing strategies that have practical application in creative arts as part of its methodology, the paper reframes creative (or analogical) thought process as being a key component in intelligence. We suggest new avenues that need to be further explored in order to bring image-sensation into more meaningful contact with the discursive systems of knowledge.Item Open Access hide(2024-07-18) DesRoches, Chanel; Daigneault, Michelhide places the viewer in a state of distraction, removed from reality and situated in a newly created in-between space. Surrounded by constant interruption and infinite misguiding, the tangling of painterly gestures and sporadic mark-making brings forward feelings of being overwhelmed. Seemingly confident, the scale and visual forms simultaneously intimidate and draws the viewer closer. I employ abstraction as an avoidance strategy to deflect from my great fear of drawing attention to myself by making quick and irrational compositional and material decisions out of wavering anxiety. Finding humor in what feels like a ridiculous fear, I lean into the embodiment of an idealized, fearless self. Integrating loud colour palettes, awkward-yet-intentional linework, and moody titles like Bite me, I look to derail any signs of weakness. My issues with attention are only engulfed in flames and activated in public spaces.Item Open Access Re-working(2015-08-28) Thomas, L. Frances; Jones, Janet A.The thesis Re-working explores the concepts of affect, constant change, the unfinished and undefined, and the ineptness of representation. It is a reflection and contemplation on the ontology of painting and the ongoing and undeniable allusive force of the abstract image as evidenced by the continued liveliness of, and interest in, the painting medium. My choice of the title Re-working speaks to the editing and revisions necessary in the process of realizing an image. At the same time I am inferring a larger and more encompassing sense of functioning and being in the world. It is the case that self and identity, the natural world, relationships and existence itself, are always in a constant state of flux, re-working and adaptation in the causes of renewal and sustainability.Item Open Access The Perfect, Singular Moment, When Reality Looks Back at You to Show, Exactly, What She Has Been Hiding All This Time: Nothing(2018-11-21) Tamayo, Alejandro; Couroux, Marc G.This research process is rooted in a material practice and in the temporal apprehension of objects and everyday materials, extending and complexifying the concept of the readymade (as first introduced by Marcel Duchamp). The focus on materiality separates this research from more traditional time-based art practices such as video, sound, or performance, as I seek to investigate the temporal properties of a sculptural experience. The complexities involved in the object-subject relation are at the core of my research.