Homage to a Rectangle PORTFOLIO

Fahd, CR

Homage to a Rectangle PORTFOLIO

Permalink

Publication Type:: Exhibition
Citation:: Homage to a Rectangle

Closed Access

	Filename	Description	Size
	1235797_FAHD_HomagetoaRectangle_FINAL.pdf	Accepted Manuscript version	1.68 MB	Adobe PDF	View/Open

Copyright Clearance Process

Recently Added
In Progress
Closed Access

This item is closed access and not available.

Full metadata record

Field	Value	Language
dc.contributor.author	Fahd, CR https://orcid.org/0000-0002-3404-1535	en_US
dc.date	2015	en_US
dc.identifier.citation	Homage to a Rectangle	en_US
dc.identifier.uri	http://hdl.handle.net/10453/122330
dc.format	photography/ visual communication	en_US
dc.relation.ispartof	Homage to a Rectangle	en_US
dc.title	Homage to a Rectangle PORTFOLIO	en_US
dc.type	Exhibition
utslib.for	1905 Visual Arts and Crafts	en_US
utslib.for	1203 Design Practice and Management	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	2016	en_US
pubs.start-date	2015	en_US
pubs.rights-statement	The photographs in Homage to a Rectangle arise from the field of photographic abstraction. Central to this is a history of mdernism and the predominant role of colour and composition design in the field of visual communication. Homage to a Rectangle makes reference to Josef Albers' influential colour studies Homage to the Square. Begun in the early 1950s, Albers studied the effects and interactions of colour through the basic compositional scheme of overlapping coloured squares. In 1963, he published his systematic study in a small but key text titled Interaction of Color. In my reinvention, I have used the minor form of the rectangle, unsystematically combined colours and the illusionistic function of photography rather than paint, to foil the precise objective of Albers' modernist designs. This intervention aimed to subversively but playfully bring a prevailing modernist scheme to relief. This subversion takes place in the tension between abstraction and figuration. By inserting non-identifiable fragments of a face and body the work disrupts the prescribed visual language of hard-edged abstraction and non-representational painting. This work was initially exhibited in solo exhibitions in Melbourne, Diane Tanzer + THIS IS NO FANTASY, and Sydney, William Wright Projects (2015). Works from the series were subsequently selected by the MAMA Art Foundation for inclusion in the National Photography Prize (2016). Three works were acquired for a private collection in Los Angeles and by Opera National de Paris for the Academie program.	en_US

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/122330