Immersive light projections as a means of abstract, expanded painting
| dc.contributor.author | Puddister, Stephanie | |
| dc.contributor.examiningcommittee | Bridges, Leigh (School of Art) | en_US |
| dc.contributor.examiningcommittee | Neufeld, Mark (School of Art) | en_US |
| dc.contributor.examiningcommittee | Black, Joanna (Curriculum, Teaching and Learning) | en_US |
| dc.contributor.supervisor | Botar, Oliver (School of Art) | en_US |
| dc.date.accessioned | 2020-09-13T18:35:07Z | |
| dc.date.available | 2020-09-13T18:35:07Z | |
| dc.date.copyright | 2020-09-12 | |
| dc.date.issued | 2020-05-14 | en_US |
| dc.date.submitted | 2020-09-13T04:41:03Z | en_US |
| dc.degree.discipline | School of Art | en_US |
| dc.degree.level | Master of Fine Art (M.F.A.) | en_US |
| dc.description.abstract | This paper explains my thesis installation within the context of what is now referred to as “expanded painting.” The history of expanded painting and projection-based artworks informs both the exhibited work and the writing. I describe my artistic process and my research on Affect Theory. I delve into writings on the perceptual and emotional experiences of painting and apply some of these ideas to the making of the artwork itself. I consider a carefully selected group of artists working in media similar to my own, mainly, but not exclusively expanded painting. The questions I explore include painting’s place in a post-medial context, the influence of painting on experimental film within the avant-garde, and finally, theories of affect as they concern the production and reception of artwork. | en_US |
| dc.description.note | October 2020 | en_US |
| dc.identifier.uri | http://hdl.handle.net/1993/35063 | |
| dc.language.iso | eng | en_US |
| dc.rights | open access | en_US |
| dc.subject | Abstract | en_US |
| dc.subject | Painting | en_US |
| dc.subject | Light | en_US |
| dc.title | Immersive light projections as a means of abstract, expanded painting | en_US |
| dc.type | master thesis | en_US |