| Field |
Value |
Language |
|
dc.contributor.author |
Titmarsh, M
https://orcid.org/0000-0002-1033-3867
|
en_US |
|
dc.date |
2014-11-01 |
en_US |
|
dc.identifier.citation |
reSATURATEryb |
en_US |
|
dc.identifier.uri |
http://hdl.handle.net/10453/33448
|
|
|
dc.format |
Painting, Installation, Sculpture, Expanded Painting |
en_US |
|
dc.publisher |
Grace Cossington Smith Gallery |
en_US |
|
dc.relation.ispartof |
reSATURATEryb |
en_US |
|
dc.title |
"eyelet" (2014), "Flump" (2009 - 2014) |
en_US |
|
dc.type |
Exhibition |
|
|
utslib.location |
Grace Cossington Smith Gallery, Sydney |
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 |
true |
en_US |
|
pubs.finish-date |
2014-12-06 |
en_US |
|
pubs.place-of-publication |
Grace Cossington Smith Gallery, Sydney |
en_US |
|
pubs.start-date |
2014-11-01 |
en_US |
|
pubs.rights-statement |
A certain kind of painting, expanded painting, sets up the material elements of painting, surface, image, frame, paint and colour, in a way that demands an existential engagement. Expanded painting as an ontical challenge to the finite materiality of painting initiates an ontological question as to the very nature or essence of painting. In my work there is a regression into the natural presence of paint showing what becomes most hidden about paint. What appears is its tendency to flow, to form smooth curves, to mix, to distribute colour, to interweave, to seek out boundaries and edges dispersed across surfaces and architectural interfaces. The tension between paint doing its own thing and painting as a set of conventions for disciplining paint is made apparent. In getting beyond the discipline, I have sought out materials that substitute for paint, thereby revealing a porous boundary between good form and institutional infrastructure.In this work all of the elements of painting have been removed except one, colour. Painting’s almost complete absence lingers as an honorific presence, functioning as a kind of homeopathic dose, intensifying painting the more diluted and negated it becomes. It asks the question, if colour is the limit point of painting, what counts as colour for painting? Colour in any situation is capable of invoking the presence of painting even when painting is otherwise absent. Anything that carries colour, from string to video pixels, functions as a substitute for paint in a tube. As such, colour in all its appearances and in every manifestation is a standing reserve for painting as a whole. |
en_US |
