In the worlds of virtual reality, whole objects and bodies are created in an immaterial manner from lines, ratios and light pixels. When objects are created in this form they can easily be manipulated, edited, multiplied and deleted. In addition, technological advances in virtual reality development result in an increased merging of physical and virtual elements, creating spaces of mixed reality. This leads to interesting consequences where the physical environment and body, in a similar vein to the virtual, also becomes increasingly easier to manipulate, distort and change. Mixed realities thus enhance possibilities of a world of constantly changing landscapes and adjustable, interchangeable bodies. The notions of virtual and real coincide within this thesis, reflecting on a new version of reality that is overlapped and ever-present in its mixing of virtual and physical. These concepts are explored within my exhibition Immaterial - a creation of simulated nature encompassing a mix of natural and artificial, tangible and intangible. Within the exhibition space, I have created a scene of mixed reality, by merging elements of both a virtual and physical forest. This generates a magical space of new experiences that comes to life through the manipulated, edited, morphed and re-awakened bodies of trees.

The following statement supports the investigations that culminated in the body of sculptural work entitled “Daoist Garden”. It is an examination of the most basic sculptural issues of form and space, and reverses the roles of prototype and mold to give visual accounting of spaces created by curved planes. These spatial records allude to cycles of disintegration and reconfiguration of matter on various timelines and scales. The philosophical influence behind the work employs the concepts of yin and yang, which relate directly to the mold/positive relationship, and are essential to experiencing Dao, the eternally nameless underlying order of the universe. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2014.. / FAU Electronic Theses and Dissertations Collection

梁嘉賢. / "2007年8月". / 論文(藝術碩士)--香港中文大學, 2007. / 參考文獻(leaves 46-48). / "2007 nian 8 yue". / Abstract also in English. / Liang Jiaxian. / Lun wen (Yi shu shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 46-48). / Chapter (一） --- 前言：一覺之間的疑 惑 --- p.1 / Chapter (二） --- 知覺：傳統的定義與印 象 --- p.4 / Chapter 2.1 --- 神聖的規範 / Chapter 2.2 --- 印象與符號 / Chapter (三） --- 超越真實：傳統影像的再現與接 收 --- p.8 / Chapter 3.1 --- 眼前的傳統 / Chapter 3.2 --- 真實以外 / Chapter 3.3 --- 符號慣性 / Chapter (四） --- 相遇：當代藝術形態中的混雜模 式 --- p.17 / Chapter 4.1 --- 從二元到多元的混雜 / Chapter 4.2 --- 文化超市 / Chapter (五） --- 再探：從混雜藝術中重拾傳統的意 義 --- p.25 / Chapter 5.1 --- 傳統精神融合其他媒介，擴展傳統藝術思想 / Chapter 5.2 --- 以傳統元素審視傳統 / Chapter 5.3 --- 利用傳統的文化價値確立個人身分 / Chapter 5.4 --- 傳統作爲創作材料的一部分 / Chapter (六) --- 結論 --- p.40 / Chapter 6.1 --- 創作者的起點 / Chapter 6.2 --- 混雜藝術的位置 / Chapter 6.3 --- 危與機的邊緣 / 參考書目 --- p.46 / 附錄 --- p.49

Orientador: Rosangela da Silva Leote / Banca: Lucimar Bello Pereira Frange / Banca: José Paiani Spaniol / Resumo: Nesta dissertação descrevo as experiências da série O Bagaço da Pintura, que procuram responder ao problema da morte da arte e investigam a linguagem pictórica em campo expandido. No ambiente acadêmico, esta pesquisa abriu uma nova vertente poética, também aqui descrita e analisada: as Pictocartografias / Abstract: In this dissertation I describe the experiences of series The Bagasse of the Painting, which seek to respond to the problem of the death of art and investigate the pictorial language in expanded field. In academic environment, this research has opened a new poetic dimension, also described and analyzed here: the Pictocartografias / Mestre

Orientador: Sergio Mauro Romagnolo / Banca: Lúcia Regina Vieira Romano / Banca: Joasé Paiani Spaniol / Banca: Rosa Gabriella de Castro Gonçalves / Banca: Alvaro Seixas / Resumo: O trabalho apresenta o processo de criação do texto dramatúrgico Auké - A Ilha Invisível e a produção pictórica criada especificamente para ele. O texto dramatúrgico discute os desdobramentos que a comunicação cria a partir do encontro entre personagens oriundos de mundos diferentes e os desentendimentos relacionais consequentes. O trabalho busca integrar a pintura com a dramaturgia teatral para compor uma nova sintaxe estética tanto visual quanto teatral a partir das afinidades e diferenças entre as duas linguagens. A tese aborda também a transformação da pintura ao estar nesse novo lugar que não é o espaço expositivo tradicional público e/ou privado. A pesquisa revela o processo de escrita do texto dramatúrgico e o resultado obtido dessa inter-relação com a pintura. Assim, a dramaturgia e a pintura ao se fundirem num propósito comum criam um campo conceitual e experimental que se desdobra em uma nova práxis artística. / The work presents the process of creation of the dramaturgic text Auké - A Ilha Invisível ( Auké - The Invisible Island) and the pictorial production specially created for it. The dramaturgic text discusses the unfolding ways that communication creates from the meeting of the characters coming from different worlds and the consequent quarrels in their relationship; The work aims at integrating the painting with theatrical dramaturgy to compose a new aesthetics syntax both visual as well as theatrical starting with the similarities and differences between the two languages. The thesis also approaches the transformation of picture by being in that new place which is not the private and or public traditional space for exhibition. The research reveals the process of writing the dramaturgic text and the result obtained out of that interrelation with the painting. Therefore, the dramaturgy and the painting when merging in a common purpose create a conceptual and experimental field that unfolds into a new artistic practice. / Doutor

Craftsmanship in contemporary art production is the main area of focus for this visual arts based research. An exploration into the artistic production processes of selected contemporary artists’ work, reveals a tendency of physical non-involvement on the part of the artist, who takes up the role of art director. The research enquiry attempts to provide an answer as to whether credit should be given to the craftsman as well as to the artist in this artist/craftsman relationship. The use of a practice-led research strategy allows the researcher’s art-making practice to become an integral part of the cycles of research, as the development of the researcher’s practical understanding, techniques and execution are crucial in the practical component, but also conceptually as a stance in opposition to the selected artists’ lack of practical involvement. The researcher has identified and analysed the following five factors that have contributed to this current state of art production in contemporary art: Kitsch as an influence on the subject matter and content of art, Marcel Duchamp and his idea of the ‘readymade’ and issues of authorship, Andy Warhol and his ideas on art and business, the Conceptual Art movement and, the act and product of craft being perceived as being inferior to the fine arts In addition, an exploration of the production processes involved in the creation of the artworks of Jeff Koons, Damien Hirst, Maurizio Cattelan and Takashi Murakami highlights the craftspeople, fabricators and foundries that are responsible for these artists’ highly crafted aesthetics. As practice is crucial in developing a new understanding and meaning in visual-arts based research, the practical component describes the researcher’s core practical themes as being the following:the creation of naturalistic figurative small-scale sculptures in resin and bronze, placing the characters explored in the theoretical component as the subject matter.The advantages and disadvantages of the collaborative experience with Sculpture Casting Services (fine art foundry) and eNtsa (a Technology Innovation agency), especially the implementation of 3D technologies in both experiences; and the technical development and understanding in order to improve the researcher’s artistic practice Collaboration is an important underlying theme throughout this research undertaking. It is crucial in the production of most contemporary art, and assists in identifying the artist’s role within the production of his/her work. Finally, it relates to the researcher’s collaborative experience expanded upon in the practical component and its benefits as a production method. In concluding, the researcher finds that craftspeople do receive credit for the work they do in the form of money, business and marketing. They provide a service that a great number of artists generously support. Foundries and fabricators also place a mark on the work they do, much like the artist’s signature, as a symbol of pride and recognition. It is ultimately the artist’s technical abilities, workload and artist identity or brand that will determine the extent to which he or she will contribute to the collaboration, whether that be a simple idea, a sketch, a maquette or a large-scale sculpture ready for installation. However, in a rapidly advancing technological society, it is the idea of the artist as craftsman, both thinker and maker, that demands more respect.

Made available in DSpace on 2015-12-10T14:22:47Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-30. Added 1 bitstream(s) on 2015-12-10T14:28:58Z : No. of bitstreams: 1 000852999.pdf: 42160957 bytes, checksum: 1761b105afacbaf617d9c6ea8d8a7665 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Nesta dissertação descrevo as experiências da série O Bagaço da Pintura, que procuram responder ao problema da morte da arte e investigam a linguagem pictórica em campo expandido. No ambiente acadêmico, esta pesquisa abriu uma nova vertente poética, também aqui descrita e analisada: as Pictocartografias / In this dissertation I describe the experiences of series The Bagasse of the Painting, which seek to respond to the problem of the death of art and investigate the pictorial language in expanded field. In academic environment, this research has opened a new poetic dimension, also described and analyzed here: the Pictocartografias

Submitted in partial fulfilment of the requirements for the Masters of Technology in Fine Art Degree, Durban University of Technology, 2017. / The aim of this research is to investigate the exploration of transience in the work of selected artists. This study used qualitative, practice-led research methodology. This research is practice-led as my art making plays an integral part in guiding my research. Process philosophy provides the theoretical underpinning and contextual framework for this dissertation. I focus on both contemporary artists and philosophers who explore the notion of transience. As my selected artists and I use paper as a predominant medium, I look at how paper is an ideal choice of material through which to explore themes of transience. The selected artists that I investigate include Peter Callesen (1967-), Mia Pearlman (1974-), Jodi Carey (1981-) and myself. Through this research I have found that artists expressed similar sentiments to that of process philosophers centuries before these theories existed, and continue to do so today. This validates transience as a relevant form of visual enquiry. Through the exploration of transience by contemporary thinkers and the selected artists, I briefly examine the scope of interpretations and possible meanings of transience. The investigation into paper as an art medium supports its appropriateness as a means to explore themes of transience. The exploration of the selected artists’ work highlights the various aspects of transience as a concept based on both subject matter and medium. This research resulted in a body of work, exhibited in partial fulfilment of the Master of Technology Degree in Fine Art. / M

This visual arts based research explores the autonomous process of mark-making from the unconscious for the sake of expressing inner turmoil that comes with ‘Living in the Shadow of Death series’ (2014). The manner by which emotions are, in a sense, naturally released in automatic drawing and painting underpin the basis of this research as part of the development of an expressive visual language. ‘Living in the Shadow of Death’ is definitively concerned with how an emotional predisposition, a severe case of unconscious aggression due to struggles with the illness of Marfan Syndrome comes to the surface naturally and is expressed visually. Essentially, this research aims to answer the main research question: How might the act of drawing convey the power and complexity of emotion through the exploration of autonomous mark-making with unconventional tools, mediums and methodologies? This research inquiry rests upon three important benefactors and influences: Illness, anatomy and unconventional tools. What is discussed is an interdisciplinary regime of theoretical and practical research into Surrealist Automatism and a progressive development of this methodology formed from the perspective and approach of a Marfan Syndrome sufferer. The research includes an analysis of Automatism in the works and practice of artists Roberto Matta, Joan Miro and Andre Masson and their influence on the working methods of Jackson Pollock. To this end, the contribution made by Jungian therapy to Pollock’s Action Painting technique and experimentation with unconventional methodologies is explored. Furthermore, the practice-led analysis and documentation of information gained on Surrealist Automatism aided development of working procedures and how this guided the creation of a body of works entitled ‘Living in the Shadow of Death’ is discussed. Ultimately, the content of this research expands the discourse on what constitutes drawing tools, media and format, and how suffering from Marfan Syndrome extended and amplified the expressive potential of Surrealist Automatism and Action Painting exemplified in the development of an innovative methodology known as ‘Anatomical Automatism’.

Orientador(a): Sergio Mauro Romagnolo / Banca: Agnaldo Valente Germano da Silva / Banca: Mônica Soares Tinoco Sanovicz / Resumo: Esta dissertação consiste numa análise de minha produção plástica preexistente do corpo de obras realizadas no período de dois anos do curso do mestrado. Esse estudo tem como foco um aprofundamento na investigação da apropriação de imagens prontas como procedimento artístico, tema extremamente relevante para produção artística atual, pois consiste como um dos eixos que norteiam a minha produção artística, já se fazendo presente em meus primeiros estudos e trabalhos artísticos, realizados desde a época da graduação. Para explorar todo esse panorama optei por focar no pensamento de críticos que se aprofundam no estudo dessas práticas como Douglas Crimp e Nicholas Bourriaud, bem como na obra de Marcel Duchamp e Andy Warhol, que são artistas que inauguram aspectos chave para esse contexto / Abstract: This dissertation consists of an analysis of my preexisting plastic production of the body of work done during the two years of the Master's degree course. This study focuses on deepening the investigation of the appropriation of ready-made images as an artistic procedure, witch is a extremely relevant theme for the current artistic production, and it also consists of the axes that guide my artistic production, and has been present since my first studies and artistic works as a graduate student. To explore this whole panorama, I have chosen to focus on the thinking of critics who delve deeper into the study of such practices as Douglas Crimp and Nicholas Bourriaud, as well as the work of Marcel Duchamp and Andy Warhol, who are artists who inaugurate key aspects of this context / Mestre