The crux of this investigation is the combination of realist and abstract elements in pictorial space and negotiating the various pictorial problems this sets in motion. The interaction between these elements, especially in a spatial sense, creates both a visual and conceptual ambiguity central to the meaning of the work. Multiple treatments of painted form -- realist, expressive and abstract are interleaved producing divergent visual sensations. The transition from one visual sensation to another, the way the eye traverses believable forms to suddenly collide with the canvas, forced there by raw, painted gesture, is an unpredictable journey invoking visual perplexity, thereby alerting the viewer to potential meanings; the research paintings are not just images of things, they are images of things that would not normally exist together, but do so to create a story. It is intended that the viewer be directed toward the subject of the painting as much as the qualities of the medium itself. Influences as diverse as art historical painting, photography, the motion and lighting effects of film, the qualities of surface reflections and chiaroscuro, have been sourced to facilitate a new body of work. Directing the relationship of the viewer to the paintings through format and scale, (generally life size or very small) promotes a similar kind of interaction (the need to get up close and far away) to that of the application of pictorial space. This is an important aspect of the research; the optical process of focussing in and out is a microcosm of looking at the paintings installed in physical space. The subject of the paintings is female sexuality and its connection to identity, relationships and self-expression. It is also the conceptual object of 'Multiplicity', a principal idea in the work, ambiguous pictorial situations suggesting reality is not one thing but a combination of remembered, existing and subconscious experience. In the research, this concept also pertains to the painter (using memory, experience and imagination) and the audience viewing the work at different times.

The crux of this investigation is the combination of realist and abstract elements in pictorial space and negotiating the various pictorial problems this sets in motion. The interaction between these elements, especially in a spatial sense, creates both a visual and conceptual ambiguity central to the meaning of the work. Multiple treatments of painted form -- realist, expressive and abstract are interleaved producing divergent visual sensations. The transition from one visual sensation to another, the way the eye traverses believable forms to suddenly collide with the canvas, forced there by raw, painted gesture, is an unpredictable journey invoking visual perplexity, thereby alerting the viewer to potential meanings; the research paintings are not just images of things, they are images of things that would not normally exist together, but do so to create a story. It is intended that the viewer be directed toward the subject of the painting as much as the qualities of the medium itself. Influences as diverse as art historical painting, photography, the motion and lighting effects of film, the qualities of surface reflections and chiaroscuro, have been sourced to facilitate a new body of work. Directing the relationship of the viewer to the paintings through format and scale, (generally life size or very small) promotes a similar kind of interaction (the need to get up close and far away) to that of the application of pictorial space. This is an important aspect of the research; the optical process of focussing in and out is a microcosm of looking at the paintings installed in physical space. The subject of the paintings is female sexuality and its connection to identity, relationships and self-expression. It is also the conceptual object of 'Multiplicity', a principal idea in the work, ambiguous pictorial situations suggesting reality is not one thing but a combination of remembered, existing and subconscious experience. In the research, this concept also pertains to the painter (using memory, experience and imagination) and the audience viewing the work at different times.

Thesis (M.C.A.-Res.)--University of Wollongong, 2008. / Typescript. Includes bibliographical references: leaf 34-35.