Titmarsh 1 (Chromo-man and (Silly) String Theory, (Silly) String Theory 2)

Titmarsh, M

Titmarsh 1 (Chromo-man and (Silly) String Theory, (Silly) String Theory 2)

Titmarsh, M

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Publication Type:: Exhibition
Citation:: Verge Gallery, Intra-sections, Marrickville Garage, Some Rooms

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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	Verge Gallery, Intra-sections, Marrickville Garage, Some Rooms	en_US
dc.identifier.uri	http://hdl.handle.net/10453/122214
dc.format	Painting and Installation	en_US
dc.relation.ispartof	Verge Gallery, Intra-sections, Marrickville Garage, Some Rooms	en_US
dc.title	Titmarsh 1 (Chromo-man and (Silly) String Theory, (Silly) String Theory 2)	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	open_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 exhibitions are located in the field of image making and expanded painting with a specific focus on the spatialisation of traditional craft based skills in the visual art disciplines of painting and drawing. The works question the nature of static imagery in an age of convergent media and multimodal practices. The aesthetic premise of these works is that the artist or designer can you use any coloured thing to create work and is not restricted to traditional mark making tools like the pen, pencil, brush or even the virtual presentation of those devices on image making software like photoshop or illustrator. Furthermore in these two works performance is used as a time-based event in which the artist can become the surface on which colour is applied rather than the director of marks beyond his own body. 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 to gather around string and the body. These works offer alternate models of practice that move beyond the traditional presumptions suggested by the apparatus of historical mark making devices. They engage an impetus subtly suggested by the digital era in which individuals are compelled to use more than one skill and any available device must also move across several technical boundaries. Intrasections was reviewed by Andrew Frost, Sydney Morning Herald (Saturday 31 August 2013) and by Leanne Richards, City News (5 September 2013).	en_US

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http://hdl.handle.net/10453/122214