published_or_final_version / abstract / toc / English Studies and Comparative Literature / Master / Master of Philosophy

Computer prints have long been viewed as final products. All the work was traditionally completed on the computer then printed as final output, without alteration or adaptation. Unlike other forms of fine arts printing (photo or printmaking) there are no chemical alterations or multiple printing procedures. I have used this exploration to experiment with numerous approaches to digital printing. Several artists have inspired my work, both in approach and technique. Those artists include Robert Rauschenberg, David Hockney, and Man Ray. This creative project is both an experiment in creative printing techniques and the aesthetic creation of experimental works of digital art.The purpose of this project is to explore and experiment with techniques and practices that will push my own digital work to new levels, and open areas of further study for myself and other digital artists. / Department of Art

Thesis (PhD)--University of South Australia, 2004.

This thesis documents a project that investigates the nature of painting in the digital age. Accounts of ??what painting is?? have focused on the quality of its product, its production process, and its relationship with the artworld. This thesis describes how the student has developed a form of digital painting practice that consciously engages with and reconstructs the aesthetic space once occupied by Chinese landscape painting. The works combine both realist and surrealist techniques in a way that transgresses the processes and conventions of traditional Chinese painting while at the same time appropriates its presentation format. Drawing on popular culture??s fascination with forensic science, the artist plays with physical evidence and literally generates mountains out of molehills. In manipulating proofs of where things have been, she creates a fantasy of how things can become when taken out of context. Focusing on the legal system as a symbol of the superiority of Western civilisation, the project explores the ??majesty?? of justice as it is manifested in the everyday administration of criminal cases, where the prosecution builds its argument out of the fragments of evidence collected, analysed and presented as a coherent story of actions and intentions. Mountains are evocative symbols for the justice system. Lofty mountains depicted in Chinese painting are, like Western justice, fascinating, awe-inspiring and spiritual realms that are beyond the reach of most ordinary people. Mountains are often sacred places where believers pay pilgrimage to seek health and longevity and where scholars and intellectuals seek self-improvement and enlightenment. If drawing is a way of making marks, this project turns the act of drawing upside down. Just like the forensic scientist, the artist makes visible the traces created by objects by ??dusting?? objects with powder and ??lifting?? the traces on sticky tapes. These traces are then converted into digital images using a computer scanner. In the same way that a prosecutor puts together a criminal case, the artist builds cases from the evidence that has been made visible. Instead of making a direct mark, the artist ??paints?? the image using the palettes of physical traces as pigments.

Thesis (PhD)--University of South Australia, 2004.

This thesis documents a project that investigates the nature of painting in the digital age. Accounts of ??what painting is?? have focused on the quality of its product, its production process, and its relationship with the artworld. This thesis describes how the student has developed a form of digital painting practice that consciously engages with and reconstructs the aesthetic space once occupied by Chinese landscape painting. The works combine both realist and surrealist techniques in a way that transgresses the processes and conventions of traditional Chinese painting while at the same time appropriates its presentation format. Drawing on popular culture??s fascination with forensic science, the artist plays with physical evidence and literally generates mountains out of molehills. In manipulating proofs of where things have been, she creates a fantasy of how things can become when taken out of context. Focusing on the legal system as a symbol of the superiority of Western civilisation, the project explores the ??majesty?? of justice as it is manifested in the everyday administration of criminal cases, where the prosecution builds its argument out of the fragments of evidence collected, analysed and presented as a coherent story of actions and intentions. Mountains are evocative symbols for the justice system. Lofty mountains depicted in Chinese painting are, like Western justice, fascinating, awe-inspiring and spiritual realms that are beyond the reach of most ordinary people. Mountains are often sacred places where believers pay pilgrimage to seek health and longevity and where scholars and intellectuals seek self-improvement and enlightenment. If drawing is a way of making marks, this project turns the act of drawing upside down. Just like the forensic scientist, the artist makes visible the traces created by objects by ??dusting?? objects with powder and ??lifting?? the traces on sticky tapes. These traces are then converted into digital images using a computer scanner. In the same way that a prosecutor puts together a criminal case, the artist builds cases from the evidence that has been made visible. Instead of making a direct mark, the artist ??paints?? the image using the palettes of physical traces as pigments.

Thesis (M. Phil.)--University of Hong Kong, 2005. / Title proper from title frame. Also available in printed format.

The software artwork creation process is investigated using interviews with the artists, Brogan Bunt, Pierre Proske, Nathaniel Stern, Joshua Goldberg and Pall Thayer. This research asks the questions: How do practising software artist experience their development process? How does this process compare with the Agile software development process? How can conclusions made from a comparison between the Agile process and the discussions held with practising software artists shed light on the areas where the Agile process can assist artists and areas which might be avoided? The creative process was investigated from a cognitive psychological angle. The software development process was investigated from an Agile process point of view. Concepts connected with software as art medium provides the themes that face artists who choose software as medium. This study illuminates aspects of the Agile process that may assist software artists as well as highlight areas of the process that may disrupt the creative process. A process that is iterative, allows different cognitive styles and supports collaboration is recommended. Tools such as source code control and exploratory testing can support artwork documentation and exploration of the medium. The practical component of this research relates to the philosophical themes of the underlying software visibility in software art and a visual interpretation of the software development process.

This project involves the examination of abstract, geometric paintings, kinetic sculptures, electronic art and installations that use opticality, perspectival space and colour relationships that destabilise compositional cohesion. Works made between 1964 and 1980, particularly those by Victor Vasarely and Bridget Riley are referenced in the determination of how geometric forms, colour transitions, interactions and juxtapositions have been used to suggest movement. This enquiry includes a review of the usage of planar space and the creation of optical effects. Artworks such as Bridget Riley's Chant 2, (1967) inform new works in which available digital technological processes are utilised. These new works consist mainly of compositions of line and coloured forms and are created in response to the outcomes of the research into the selected works. For example, static works that create movement through the use of colour and geometric form inform the creation of new w ork in media that uses motion. The artworks produced are installation-based works. The works include digital projections and static images that use painting processes as well as digital media. The objective of the project is to produce artworks that reference painting processes and extend explorations into colour usage designed to maximise optical effects and spatial disorientation. The artworks are intended to reflect elements researched whilst maximising the potential for using new media.

Thesis (M.F.A.)--University of Central Florida, 2009. / Adviser: Keith Kovach. Includes bibliographical references (p. 36).