Chromophiliac 2 (purple) and Chromophiliac 2 (green)

Titmarsh, M

Chromophiliac 2 (purple) and Chromophiliac 2 (green)

Titmarsh, M

Permalink

Publisher:: Marrickville Council
Publication Type:: Exhibition
Citation:: Most 13

Open Access

Copyright Clearance Process

Recently Added
In Progress
Open Access

This item is open access.

Adobe PDF

Download Published versionAdobe PDF (2.73 MB)

View statistics

Full metadata record

Field	Value	Language
dc.contributor.author	Titmarsh, M https://orcid.org/0000-0002-1033-3867	en_US
dc.contributor.editor	Polkinghorne, J	en_US
dc.contributor.editor	Newall, S	en_US
dc.date	2013-03-09	en_US
dc.identifier.citation	Most 13	en_US
dc.identifier.uri	http://hdl.handle.net/10453/32637
dc.description.abstract	Chromophiliac 2 (2010) (purple) slumped perspex 48 x55 x 97cm, Chromophiliac 2 (2010) (green) slumped perspex 64 x 80 x 93cm	en_US
dc.format	Sculpture Painting	en_US
dc.publisher	Marrickville Council	en_US
dc.relation.ispartof	Most 13	en_US
dc.title	Chromophiliac 2 (purple) and Chromophiliac 2 (green)	en_US
dc.type	Exhibition
utslib.location	Marrickville Garage Gallery, Riverdale Av, Marrickville	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.place-of-publication	Marrickville Garage Gallery, Riverdale Av, Marrickville	en_US
pubs.start-date	2013-03-09	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

Abstract:

Chromophiliac 2 (2010) (purple) slumped perspex 48 x55 x 97cm, Chromophiliac 2 (2010) (green) slumped perspex 64 x 80 x 93cm

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

http://hdl.handle.net/10453/32637