Documentation

Unit Three Exhibition

I deliberately showcased three paintings for the Unit Three exhibition: Going to See a Man About a Dog, Don't Make a Monkey Out of Me, and A Pipe Dream. My specific intent revolved around discerning how these artworks engender a reciprocal discourse, interlinking and encapsulating parallel themes upon their interaction. Within the context of a painting, the coexistence of the present and the past prompts an inquiry into the position of painting within the contemporary interconnected milieu. Notably, there arises a curiosity surrounding the distinctive visual idioms that arise from the integration of modern technology. Ambiguity shrouds the definition of a painting within the current era; ascertaining the defining characteristics that unequivocally place an artwork within the trajectory of a specific epoch in the annals of visual history remains elusive. My deliberate selection of imagery sourced from the domains of photojournalism, akin to the well-regarded brand National Geographic, highlights the complexity of the temporal dimension, which contemporary global visual culture simultaneously delineates through diverse geopolitical realities and unifies through a collective lexicon of digital imagery.

Moreover, it is pertinent to acknowledge the diminishing significance of factors such as an artwork's geographical provenance or the employed artistic techniques in its conventional classification. Through utilising diverse visual methodologies and the historical painting technique of oil on canvas, I have actively directed my creative endeavour towards contemplating the inherent historical and temporal nature of painting. This exploration centres on challenging our comprehension of images and their efficacy through the application of painting techniques that straddle the boundary between antiquity and modernity. This is further emphasised by an attempt to delineate their contemporary relevance by portraying the fragmented simultaneity engendered by our expansive media network.

Central to my work are perspectival mechanisms drawn from works such as Leon Battista Alberti's seminal treatise, "On Painting," wherein he expounds upon the examination of vanishing points on a grid, and the compositional principle of the rule of thirds, which governs photographic aesthetics. These elements have played a pivotal role in my artistic exploration, where I have delved into utilising perspectival representation in both painting and photography. As previously articulated, this perspective crystallised during a critique within the Peer Sessions group, which revolved around my exhibited painting titled "Fifteen Love." Notably, Peer Sessions remarked upon the capacity of acrylic plastic to multiply horizon lines and form visual triangles, thus enhancing their perception of spatial dimensions. The application of the rule of thirds is evident in my creative process, notably exemplified in the cropping of the source photograph for my artwork "Don't Make a Monkey Out of Me." Furthermore, I accentuated this effect by incorporating a slender piece of acrylic plastic within the composition to disrupt the visual structure, drawing inspiration from practitioners such as Michelangelo Pistoletto, a prominent figure within the Arte Povera movement in Italy. This artistic movement was characterised by its interrogation of the conventional concept of the self-contained, autonomous artist, instead advocating for active utilisation of space, with the audience serving as a catalyst in the artistic discourse.

Through the strategic integration of a reflective plastic component, the viewer's own image becomes an integral part of the painting, prompting a contemplation that extends beyond the subject matter and painted surface. This engagement invites a profound consideration of the intricate interplay between the artwork and the viewer's own lived experiences. The manifold challenges inherent in this relationship have significantly influenced the evolution of visual expression, privileging it over verbal articulation within the trajectory of art history. While my artistic pursuit endeavours to imbue images with a more sculptural quality, it necessitates a tighter interweaving of the viewer's spatial realm and the pictorial space. Consequently, the observer continuously reconciles their perception of the painting as a tangible object with their interpretation of the artwork as an amalgamation of narrative fiction and perceptual illusion. A dynamic and mutually enriching relationship emerges between the tangible materiality of the medium and the inherent fictional nature of the represented subject matter. Of particular interest is the viewer's heightened awareness of the physicality of oil on canvas juxtaposed with the simultaneous experience of illusionary replication, where these two facets coexist harmoniously. In the work "Don't Make a Monkey Out of Me," the conventional boundaries between the frame and the painting assume a less distinct delineation, as the presence of reflective plastic renders the painting inseparable from its frame. This transitional disposition serves as an extension of the palpable space, alluding to a realm beyond its material existence.

The chrome mirror screws that secure the translucent acrylic plastic, which spans both the painting and the frame, contribute significantly to the polished and factory-like aesthetic. By extension, they underscore the reproducibility inherent in contemporary culture. This ornamental aspect not only provides supplementary framing for individual elements but also effectively positions the work as an installation, occupying an intermediary space between a painting and a sculpture. The artwork elucidates a foundational premise that underpins my artistic exploration, aiming to merge a profound recognition of the pervasive apparitions inherent in every image with the creative potential to apprehend them within the tangible context of media imagery. Each painting is enclosed within substantial frames, effectively embodying the paintings and immersing the actual gallery setting within the visual representation. This immersive experience challenges the audience to contemplate temporal and spatial perspectives as analytical tools for engaging with art. The act of situating the works within the realm of painting was accomplished through an array of deliberate aesthetic choices, with the invocation of the gallery being but one of them.

Through this investigation, it has become evident that images traverse the realm of embodied experience and circulate within networks, manifesting in a continuous flux characterised by varying velocities. Ultimately, they endure perpetual reproduction and transference, irrespective of the uniqueness of their subjects, whether in the literal or figurative sense. This premise finds resonance in the theory of "image-thinking" put forth by Mieke Bal, a renowned cultural theorist and art historian. "Image-thinking" diverges from the perception of images as static representations devoid of genuine meaning and agency. Instead, it offers a critical analytical perspective emphasising their inherent dynamism and volatility. The subsequent considerations surrounding "image-thinking" unveil how the image stands at the crossroads of our inner and outer worlds. Consequently, it prompts a shift from passive and habitual modes of observation, where the image serves as a conduit for thought and where we no longer perceive ourselves as mere observers before a framed image but, rather, as individuals passing through and beyond it. Rather than merely presenting a predetermined object, the focus lies on formulating an exhibition approach that emphasises viewer engagement, the excitement of inquiry, and the immediacy of the moment. The immediacy of the present moment assumes a profound significance in this context, as it facilitates an in-depth exploration of our mechanisms of engagement with and assimilation of visual information.

In David Joselit’s seminal essay “Painting Beside Itself,” the discourse surrounding contemporary art challenges the notion that painting exists as a self-contained spectacle, emphasising its role as a dynamic entity undergoing continual transformation. Joselit posits that contemporary artworks are not isolated entities but are, instead, interconnected within broader networks that shape their formulation and circulation. The genesis of contemporary painting, according to Joselit, is contingent on the networks to which it belongs, explicitly establishing connections with the production processes, institutional frameworks, art market dynamics, and overarching discourses that define its inception and constitution. Joselit encapsulates this essential disposition of contemporary art with the succinct phrase, “Painting is beside itself” (Joselit, 2009, p.34).

Sara Barker is an artist engaging with the contemporary manifestation of the term ‘transitive’ painting, a concept elucidated by David Joselit. This form of painting operates within the intricate networks that contribute to its emergence and circulation in contemporary art. Barker’s work seamlessly incorporates the expansive domain of the art world, encompassing both tangible and intangible spaces, institutional frameworks, and the commercial sphere. Within her creations, the distinction between the viewer’s engagement with the artist’s semiotic representation and the transformation or translation of the work within the social networks surrounding the contemporary art world becomes indiscernible. Simply put, Joselit, in his essay “Painting Beside Itself”, contends that the materiality and methodologies prioritised by the artist, alongside the spaces affiliated with their endeavours, such as galleries, institutions, and markets, no longer maintain a clear distinction in transmitting the expanding field of contemporary practices. Joselit contends that ‘transitive painting,’ offers a departure from the “enduring critical dead end: the reification trap” (Joselit, 2009, p.132). With painting susceptible to commodification, it tends to solidify specific social relations within a network. Joselit argues that Transitive painting reveals that these networks are not entirely static but open to varied social relations, spatial contexts, and material forms. In the context of “Painting Beside Itself,” this signifies an objective acknowledgement of space within the art world, prompting a reflection on how Sara Barker scrutinises these networks and reflects the essence of ‘transitive painting’ for a more nuanced understanding of the concepts inherent in ‘painting beside itself.’

Barker’s work transcends traditional medium boundaries, occupying a space that defies categorisation. The structures, crafted from aluminium and steel and coated with layers of oil paint, gouache, and watercolour, resemble the lineage of sketches more than traditional sculptures. The negative space within Barker’s artworks extends beyond their materiality, referencing a domain outside their physical existence. These slender frames both inhabit and reach out to spaces, tangible and intangible, demonstrating a high degree of self-reflexivity in painterly practices. While Barker may not explicitly articulate this spatial consciousness as a deliberate response to Joselit’s ideas, it aligns seamlessly with the transitive painting concept, offering a motivated example supporting Joselit’s thesis of Painting Beside Itself. Barker’s work directs the viewer’s attention to social networks, engaging in a dialogue with other works through the passages of transitivity. The spaces between the peripheries of her works add layers, adding more meaning and significance. For Barker, transitivity is linked to the gallery’s negative space, highlighting the interconnectedness of works and the potential for expanded interpretations. By revitalising and redefining the contextual and material basis of painting, incorporating various mediums, and altering spaces of distribution and display, Barker’s network painting exemplifies an ongoing exploration of transitive possibilities and positions. While the medium of painting was previously examined for its contextual and material attributes within the confines of the frame, contemporary inquiry now predominantly occurs at the intersection of the painting’s periphery and the surrounding contextual spaces.

Unlike the self-referentiality prevalent in modern art, where the medium's materiality was scrutinised to establish its pure essence, contemporary painting, influenced by post-modern art discourses, engages in self-reflexivity that visualises its circulation and distribution. Artists since early post-modernism have sought to challenge and reject the values associated with reductive modernist principles. This shift toward self-reflexivity, integral to Joselit’s “network painting” concept, reflects a complex engagement with global realities and their impact on subjectivity within contemporary art. Sara Barker’s work resists reducing painting to semantic signs, choosing instead to address how the dynamics presented by Joselit intersect with or disrupt self-referentiality. Contemporary painting, according to Joselit, expands through internal and external passages, embodying the fundamental importance of subjective reality and self-reflexivity. In essence, contemporary painting becomes an exploration of variable discourses that traverse what Joselit states, “the passages internal to a canvas, and those external to it” (Joselit, 2009, p.129).

Given the foundational premise of my artistic practice, which centres on the tangible presence of painting through the incorporation of frames and physical extensions that manipulate both virtual and physical spaces, I expanded this inquiry into the realm of framing by introducing a large frame, maintaining the same proportions as my painting "Don't Make a Monkey Out of Me," albeit on a significantly larger scale matching the dimensions of the studio wall at 244cm in height. Employing thematic colours akin to those utilised in the framing of my other paintings, I opted for a vivid hot pink shade, harmonising with and enhancing the interconnected flow of imagery within the curated installation. This intentional approach serves to unify the separate works, fostering a cohesive integration rather than an isolated coexistence, thereby prompting a contemplation not only of the points at which the works converge but also the interstitial spaces in between. By forging connections between the positioning of the artworks, the audience, and the architectural setting, the overarching objective is to prompt a nuanced examination of the dualities inherent in the reception and consumption of visual information. This comprehensive endeavour strives to delve into the intricacies of aesthetic practices and the emergence of implicit subjectivity, as the deliberate utilisation of space necessitates a recalibration of our focus, encouraging a heightened awareness of our surrounding environment. Enabling a holistic engagement invites an active involvement that transcends passivity, urging the viewer to navigate the artworks and consequently absorb new vantage points and perspectives within an immersive perceptual encounter. Furthermore, I deliberated on incorporating multiple frames, envisaging a configuration wherein one frame would assume a vertical orientation against the wall while another would enshroud the former, thereby instilling an additional layer of visual intricacy within the composition. Yet, upon crafting the smaller yellow frame and situating it within the spatial context, I found that its presence overwhelmed the environment, inducing an excessive saturation of colour that detracted from the overarching contemplation of images that constituted my artistic aims.

Initially, I encountered uncertainty in determining whether to employ acrylic plastic to the pink frame akin to that utilised in my painting "Don't Make a Monkey Out of Me" or to integrate a sizable piece of pink-coloured mirror to amplify the concept of incorporating the viewer's image. Ultimately, I opted for transparent acrylic plastic in the hope that it would engender a similar reflective effect while simultaneously preserving transparency, thereby enabling an observer to perceive the artwork beyond the frame. This decision prompted consideration of the prospective title "Through the Looking-Glass," drawing inspiration from Lewis Carroll's novel, which is emblematic of a narrative where the character Alice traverses through a mirror into a fantastical and nonsensical world, encapsulating the idea of a transformative journey or altered perspective. Symbolically, the phrase "Through the Looking-Glass" has garnered metaphorical usage, signifying a transformative shift in perspective or an expedition into uncharted territories, often associated with endeavours of exploration, self-discovery, and the pursuit of deeper comprehension. Within literature and art, the recurring motif of mirrors frequently serves as a conduit for conveying themes pertaining to self-perception, the dichotomy of existence, and the blurring of boundaries between reality and illusion. The exploration of mirrors has engendered extensive deliberation within psychology and philosophy, serving as an instrument for contemplative introspection and fostering metaphoric representations of the intricacies inherent in human perception and consciousness. However, in alignment with the thematic approach established in the titling of the other paintings, all designated with English idioms, I ultimately elected to choose the title "In the Pink." This idiomatic expression traditionally signifies a state of robust health, sound condition, or a disposition characterised by contentment and happiness.

This line of inquiry has not only underpinned my exploration of framing mechanisms within the context of the paintings but has also informed the meticulous curation of the gallery space for the unit three exhibition. Central to all these multifaceted practices is the embodiment of the viewer's body, where the concept of "image-thinking" facilitates an interconnectedness that transcends the constraints imposed by various artistic mediums, assuming an ancillary performative role. In the context of framing spatial configurations within the unit three exhibition, my endeavour aimed to establish a symbiotic relationship between the artworks and the audience by framing the space through parallel frames encompassing both the paintings and the participants. Mieke Bal argues that the "traditionally imposed mode of viewing governs the temporality of looking" (Bal, 2022, pg.6) in museums and galleries, highlighting the significance of time as a material component of the exhibition experience in "image-thinking." The inexorable passage of time intricately intertwines with the aesthetic dynamics of representation, becoming inseparable from the interplay of media networks and visual culture. The critical inquiry undertaken in my work centres on the fluid and transitory nature of images, surpassing their conventional portrayal as static representations of still life. This exploration encompasses the tangible manifestation of a perspectival shift achieved through the very structural underpinnings of the artwork, thereby eliciting a profound transformation that has assumed heightened significance in the wake of advancements in AI and NFTs. Hence, through this project, I aspire for my work to stimulate contemplation regarding the profound metamorphosis of images into data transmissions and visual information, compelling us to grapple with the dynamically shifting hierarchies of images within contemporary culture.

References:

Joselit, David, OCTOBER 130, Fall 2009, pp. 125–134. October Magazine, Ltd. and Massachusetts Institute of Technology. 2009.

Bal, M 2022, Image-Thinking : Artmaking As Cultural Analysis, Edinburgh University Press, Edinburgh. Available from: ProQuest Ebook Central. [18 September 2023].