Chromophiliac Portfolio

Titmarsh, M

Chromophiliac Portfolio

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Publication Type:: Exhibition
Citation:: Marrickville Garage Gallery, Kandos Projects Gallery, Fine Arts Gallery, Ourimbah Campus, University of Newcastle

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	Filename	Description	Size
	1231593_TITMARSH_Chromophiliac_PF_FINAL.pdf	Published version	1.59 MB	Adobe PDF	View/Open

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Field	Value	Language
dc.contributor.author	Titmarsh, M https://orcid.org/0000-0002-1033-3867	en_US
dc.date	2013	en_US
dc.identifier.citation	Marrickville Garage Gallery, Kandos Projects Gallery, Fine Arts Gallery, Ourimbah Campus, University of Newcastle	en_US
dc.identifier.uri	http://hdl.handle.net/10453/122213
dc.format	Painting and Installation	en_US
dc.relation.ispartof	Marrickville Garage Gallery, Kandos Projects Gallery, Fine Arts Gallery, Ourimbah Campus, University of Newcastle	en_US
dc.title	Chromophiliac Portfolio	en_US
dc.type	Exhibition
utslib.location	Australia	en_US
utslib.for	1905 Visual Arts and Crafts	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	closed_access
pubs.consider-herdc	false	en_US
pubs.finish-date	2013	en_US
pubs.place-of-publication	Australia	en_US
pubs.start-date	2013	en_US
pubs.rights-statement	These works are located in the field of expanded painting with a specific focus on the spatialisation of colour in the visual art disciplines of painting and installation. The works question the nature of visual imagery in an age of electronic media especially the presumption that colour for an artist needs to come out of a tube. The aesthetic premise of these works is that the artist can use any coloured thing to create work and is not restricted to traditional mark making tools like the brush or industrially produced liquid paints. As Stephen Melville (2001) argues “painting has no essence outside of history, gathering and dispersing itself at every moment”, in this case dispersing away from brush and easel towards coloured perspex and industrial plastics. These works contribute to the field of contemporary painting by offering alternate models of practice that move beyond the traditional presumptions suggested by the apparatus of historical image making devices. They engage an in a discussion about what colour is, what meaning colour has when considered both a quality and a quantity, and finally what types of mass produced coloured materials can be meaningful for artistic production.	en_US

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http://hdl.handle.net/10453/122213