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upon the beautifully aesthetic nature of painting and portrait photography, the other, a discomforting insight into the harsh actuality of the process. This book presents a personal conflict centered on the sacrifice of identity. The comparisons between the reality of the performance and the falsehood of aesthetic outcomes acts as a blurred metaphor of an anxiety towards an oversaturated media culture and as an experience that reflects the inherently subjective nature of perspective in contemporary art.
alexander dodgeson
# 1 2011 A play of colour 1-4 # 2 2012 The mark maker 5-6 # 7 2011 The consumer of something 14-15 # 13 2013 The artists body 29-30 # 14 2013 A self-abdiction of Terms 31-32 # 15 2013 Never trust a madman in a box 33-34 # 16 2013 The deception of your perception 35-36 # 17 2013 The matter of the mind 37-38 # 18 2012 Painted portraits 39-40 # 19 2013 Painted portraits4 41-42 # 20 2012 Painted portraits5 43-44 # 21 2013 Post-Operatic representation 45-46 # 22 2013 Colour your minders 47-48 # 23 The betrayal of the self 49-50 # 24 A Need for the other 53-56
# 3 # 8 2012 Aesthetic anxieties 2012 The experimentation 7-8 of an explanation 16-18 # 4 2012 # 9 The consumer of 2012 nothing Monitored areas 9-10 19-20 # 5 # 10 A testament to 2012 witness Painted portraits 11-12 21-22 # 6 # 11 2011 2012 I could never see Painted portraits it coming 23-26 12-13 # 12 2013 Oh my transgressions 27-28
contents
A play of colour
Art is experience; the audience surrenders their passivity and becomes their own mark-making tools.
Aesthetic anxieties
Where do we find the artistic value in a work? Is it in the aesthetic outcome of the final piece or is it found in the process of creation?
8 3
10
A testament to witness
This work asks the viewer to consider the power relationships between audience and artist, who in this situation is truly in control?
11
12
The juxtaposition of the passive and defiant nature of this performance is an attempt to define what role the artist holds within society.
12
13
14
15
16
17
Monitored areas
In comparison to aesthetic anxieties, this work contrasts the nature of the artist through a physical representation of the boundaries (or lack of) between the process and the outcome.
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19
Painted portraits
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21
Painted portraits
22
23
Painted portraits
24
25
Oh my transgressions
By losing purpose, one can lead to certain miss-understandings. This is a reaction to development of an unwanted aesthetic and the loss of the self.
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27
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29
A self-abdication of terms
The combination of applied paint indexed through gesture and self-representational mark making authenticate the process of creation and establish a transcendent sign of presence highlighted by the artists body.
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32
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34
35
The artist should not becomes an icon of his own making to be revered by a separate and distant audience, where the celebrity of art is more important than the product of thought surrounding it.
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Painted portraits
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39
Painted portraits4
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Painted portraits5
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47
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Post-Operatic representation
This mirrored assortment of objects and the paint stained body were used to create a stylization of social form that compliments the complexity, seriousness and consequences of artistic sacrifice.
44
45
Untitled Project
Ga. Hentet, sinum, ut labo. Ihil maion resciis et qui rehenim olutatur andita dolupti oratem duntotatiae. Bit, apitior estotat. Ga. Agnihiliquam sam arum alitis acea saperatesto totatecum ne inctotatenis nos exerectat. Nam core nihilis sinis a cum, idebis evendun tibusdamet que nihille stiissin et aut volore ant venesequam vellabor aut endae inimus sequae videnissi blanis doluptaquo earchil excesto reperum
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49
Untitled Project
Ga. Hentet, sinum, ut labo. Ihil maion resciis et qui rehenim olutatur andita dolupti oratem duntotatiae. Bit, apitior estotat. Ga. Agnihiliquam sam arum alitis acea saperatesto totatecum ne inctotatenis nos exerectat. Nam core nihilis sinis a cum, idebis evendun tibusdamet que nihille stiissin et aut volore ant venesequam vellabor aut endae inimus sequae videnissi blanis doluptaquo earchil excesto reperum
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53
This paradoxical self-abdication into the masses has allowed the artist room to directly control the audience at his own will, giving them an equal stake in the creation of an artwork, by removing them from their passive and detached position as the viewer.
I used my body as a medium to challenge authorial ideology and present the audience with innate psychological dilemmas about their own experience of an art event.
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56
Photographers
Allesandro De Besi pg 36-37 Joseph Mayers pg 1-4. Declan Gerharty pg 2,5,6 Karen Rangley pg 2,5,6
Assistants
Kendle Topping pg 2,5,6 William Gasdby Peet pg 2,7,8 William Leeming pg 2,5,6 Katie Hoskin pg 2,5,6
Designer
Chris van Niekerk
Aknowledgements