Documentation

Paint the Town Red, 2023, oil paint, pumice, acrylic gesso, MDF, pine wood frame, and red enamel paint, 101 x 131.5 x 6.7 cm (framed)

In the book titled "Through Touch: Sensuous Theory and Multisensory Media, Laura Marks examines the concept of "haptic visuality" or "haptic touch," exploring the intricate aspects of sensory cognition in the interpretation of artworks. The aforementioned is a conceptual framework that provides insight into the manner in which visual representations might be comprehended, interpreted, and encountered on a physical level. According to Marks, haptic visuality can be described as a perceptual modality that encompasses the simultaneous activation of both the visual and touch sensory systems. The assertion challenges the conventional understanding of vision as solely reliant on the optical senses and instead promotes a broader engagement with visual representations and communication networks that encompasses the physical and sensory aspects. Mark's examples serve as evidence that the significance of haptic visuality in visual art lies in its emphasis on the materiality and sensory qualities of the artwork. The traditional manifestation of visual art commonly prioritises the faculty of vision as the predominant means of apprehension. Nevertheless, the notion of haptic visuality expands the scope of sensory encounters, facilitating a more profound and comprehensive engagement with the artwork. The incorporation of haptic touch enhances the understanding of the artwork by engaging many sensory modalities, therefore fostering a deep connection between the viewer and the artwork.

By integrating Marks' theoretical framework into my artistic methodology, my objective was to foster tactile involvement, prompting the viewer to actively engage in the aesthetic encounter. This methodology facilitates a heightened and corporeal engagement with the artwork whilst encouraging a discerning detachment in our interpretation of media images and visual culture. Marks' theory of haptic visuality has substantially influenced my artistic practice during the unit three exhibition, as it underscores the significance of involving the viewer as an active participant in the artistic encounter. This methodology facilitates a heightened sensory and corporeal engagement with the artwork, concurrently fostering a discerning examination of our cognitive interpretation of media images. The incorporation of tactile elements, such as framing devices, objects, and interactive interfaces of reflective plastics, into the artwork was expected to enhance the haptic qualities and provide a deeper sensory interaction. Nevertheless, I aimed to further augment this endeavour by delving into the tactile attributes of the surface itself, presenting an opportunity to question the inherent two-dimensionality and flattening of photographic reproduction. The coexistence of this disjunction among the elements is observed simultaneously, emphasising the three-dimensional structure of the painting as I adjust spatial and depth aspects, alternating between the two-dimensionality and three-dimensionality of pictorial techniques. In essence, the utilisation of tactile attributes inherent in the medium allows for the creation of a photo painting that encompasses not only the subject matter but also incorporates elements of the photograph or source material from which the image is derived. Maintaining the accessibility of this dual register emphasises the significant presence of the artificial or deceptive nature of painting: the photo paintings do not provide a literal view of reality but rather a calculated intervention in the widespread dissemination of pictures.

Upon perusing my collection of photographs, I observed the diverse chromatic and textural characteristics stemming from the progression of photographic advancements throughout the evolution of photography. By attempting to recreate this grainy photographic effect, I hope that the tactility of the work will enhance the viewer's experience by provoking cognitive self-reflection, sociocultural self-awareness, and aesthetic self-awareness by encouraging the viewer to reflect on the act of touching the work and making it a more tangible and visceral experience. Considering physical contact suggests a state of being apart or exclusive. The phenomenon of a disembodied vision, which is limited to the realm of the optic, serves to convert visual stimuli into cognitive processes associated with perception and understanding. The art historical underpinnings of the correlation between knowledge and vision substantiate and value vision over alternative sensory encounters. The inherent nature of an art object's proxy position is evidently unassailable, while haptic images, as articulated by Laura Marks, do not primarily elicit identification with a figure but rather foster a corporeal connection between the spectator and the image. Therefore, it is more suitable to discuss the dynamic subjectivity between the viewer and the image rather than referring to the object of a haptic gaze. The haptic sensation should not be regarded as a mere supplement to the visual perception but rather as a disruptive element that challenges and goes beyond the boundaries of the optical experience. In order to transgress the boundaries of this revered visual domain, my intention was to produce a piece of art that references the tactile sense to explore a duality in our cognitive and perceptual processes and the manner in which we assimilate information. This would be achieved by incorporating various forms of sensory encounters that elicit a response from the viewer through the medium of texture. For Allison Katz, it was employing the act of dispersing rice over a surface to juxtapose an image's illusionistic qualities with tangible substance. Each individual grain of rice served as a distinct entity, in contrast to the pigment particles that dissolves into the paint medium. The haptic qualities come to the forefront in "Slippy" as the rice grains not only skillfully replicate the illusion of snow on the flat canvas but also infuse the artwork with a tactile quality. This enhancement elevates the viewer's sensory experience, creating an immersive engagement with the virtual pane that extends into the tangible space.

In the context of photographic paintings, artists might use texture to bridge the gap between the precision of a photograph and the expressive qualities of a painting. Through the integration of the verisimilar elements of photography with the expressive autonomy of painting, practitioners are able to cultivate a unique aesthetic that elicits a multifaceted engagement from the viewer.  The incorporation of texture inside a painting contributes to its visual depth and intricacy. The artwork elicits sensory engagement from viewers by deliberately manipulating surface variances, resulting in distinct light reflections. This enhances the visual allure of the artwork and adds a tactile dimension to its appeal. The incorporation of texture in a painting can introduce a tactile dimension despite the inherent two-dimensionality of the medium. Upon perceiving texture, observers may experience an innate inclination to engage with the surface physically, establishing a profound connection between the artwork and its viewers. In photographic paintings, texture can be used to simulate the textures of the tangible objects being depicted, such as the imperfections in photographic prints. The artist uses their own creative freedom and knowledge to create a unique visual language that helps to create a more realistic representation and a sense of tangibility within the artwork. The effect of texture manifests in intriguing manners as it interacts with light, forming highlights and shadows. These visual effects augment the perception of three-dimensionality on a two-dimensional plane. The interaction between light and texture in the painting contributes to the creation of visually dynamic results. Texture can be altered and employed by several techniques, including applying impasto, glazing, scraping, and integrating mixed media components such as sand or marble dust. Through the deliberate placement of contrasting textures, I aim to establish a sense of juxtaposition within the composition, guiding the viewer's focus and engendering a heightened visual dynamism. By engaging in an investigation of texture, I aim to create a platform for experimentation that has the potential to expand the limits of my artistic endeavours. I intend to investigate various materials, processes, and tools in order to generate a diverse range of textures and effects, thereby expanding the limits of my artistic ingenuity.

Moreover, when painting the woman’s face, I noticed an intriguing meta quality that arose in the act of painting a depiction of a woman painting another woman’s face. The intrigue lies in the layered reflexivity and self-awareness inherent in the artistic act of painting. The subject of the painting within the painting, in turn, is portrayed as painting the face of yet another woman. This meta quality introduces a multi-dimensional narrative that creates an intricate interplay between the roles of creator, subject, and the act of creation. The recursive loop of representation invites a self-reflexive dialogue, where I, as the artist, am not merely an external observer but an active participant implicated in the very process of image-making. In essence, the meta quality in this context goes beyond the surface of the painting. It delves into the reflexive and conceptual layers, inviting viewers to contemplate the act of creation, representation, and the intricate interplay between artist and subject. This meta-narrative extends beyond surface aesthetics, delving into conceptual layers that prompt intellectual contemplation of the broader implications of representation and image-making. The surprising incorporation of meta-narrative elements and the meticulous cultivation of textural and haptic qualities within the painting not only shape the aesthetic encounter but also prompt the viewer to actively engage with the artwork on a tangible level. The nuanced textural and haptic qualities, exemplified through the selection of marble dust and its interplay with paint, provide a tactile richness that probes the viewer to explore the artwork beyond mere visual observation. The interplay of textures and the meta-narrative create a dynamic dialogue between the viewer and the artwork, fostering an immersive encounter that extends beyond the immediate visual experience.

References:

Marks, L. U. (2002). Touch: Sensuous Theory and Multisensory Media (NED-New edition). University of Minnesota Press.