Research Doctorate - Doctor of Philosophy (PhD) / How do Anglo-Australian artists paint themselves into the landscape with relevance and integrity, in spite of our complicated history? How do we submit to our own ‘small narratives’ and express an experience of land which considers but is not muted by postcolonial dialogues? How do individual artists form a visual language respondent to place and instructed by creative chance? The painting studio is where these questions are raised and where formal problems arise. Disparate ideas are tested in the search for marks and images to build an ambiguous sensation of place. Reflection, doubt, and wonder are the forces behind the paintings, but landscape is the sustaining narrative, and the inquiry is personal, equivocal. A remote valley on the Ellenborough River forms the back-ground to the current body of work, but my practice has taken me to desert communities during the past decade. Living and working in these environments where Indigenous artists paint without inherent effort, immersed in their big narratives of country, our choice to paint landscape is a continual challenge. Regular field trips to the valley and visits back to the desert, immersion in the patterns and phenomena of land, issues of belonging, impermanence and nostalgia have driven this investigation. The almost anachronistic studio practice results in an exhibition of on-site drawings and painted landscape memoirs. In the exegesis I examine my work through the prism of paintings by Indigenous artists from Haasts Bluff and Milikapiti. Non-Indigenous artists who engage with issues of landscape in a contemporary Australian context are also investigated, with a focus on cross-cultural dialogues, collaborations and formal painterly responses.

This project examines the contribution of Alistair Knox (1912-1986) to the development of an integrated approach to built form in the Australian landscape. Knox is renowned for his environmental building work in the Eltham area of Victoria during the second half of the twentieth century. This work responded to a unique set of circumstances involving postwar shortages of building materials, the prior history of earth building in the region, the existence and tradition of artistic communities challenging conventional practices, and the search for an appropriate landscape and architectural response to Australian conditions. Knox contributed articles to newspapers and magazines, gave numerous speeches and wrote three books, which describe his environmental building philosophy and the Eltham community. / The organic architecture of Frank Lloyd Wright and Walter Burley Griffin are considered as possible influences on the development of Knox’s integrated architecture and landscape approach, along with the landscape qualities of Eltham, and the unique artistic community living there. The work of Knox is also considered against the Australian post World War 2 climate of change, characterised by a growing appreciation of Australian plants and concern for the environment. / This research comprised a content analysis of the three books written by Knox to distinguish his influences, values and philosophies. The implications of these findings are discussed in relation to Knox’s impact on the development of an Australian landscape design ethos.

Research Doctorate - Doctor of Philosophy (PhD) / How do Anglo-Australian artists paint themselves into the landscape with relevance and integrity, in spite of our complicated history? How do we submit to our own ‘small narratives’ and express an experience of land which considers but is not muted by postcolonial dialogues? How do individual artists form a visual language respondent to place and instructed by creative chance? The painting studio is where these questions are raised and where formal problems arise. Disparate ideas are tested in the search for marks and images to build an ambiguous sensation of place. Reflection, doubt, and wonder are the forces behind the paintings, but landscape is the sustaining narrative, and the inquiry is personal, equivocal. A remote valley on the Ellenborough River forms the back-ground to the current body of work, but my practice has taken me to desert communities during the past decade. Living and working in these environments where Indigenous artists paint without inherent effort, immersed in their big narratives of country, our choice to paint landscape is a continual challenge. Regular field trips to the valley and visits back to the desert, immersion in the patterns and phenomena of land, issues of belonging, impermanence and nostalgia have driven this investigation. The almost anachronistic studio practice results in an exhibition of on-site drawings and painted landscape memoirs. In the exegesis I examine my work through the prism of paintings by Indigenous artists from Haasts Bluff and Milikapiti. Non-Indigenous artists who engage with issues of landscape in a contemporary Australian context are also investigated, with a focus on cross-cultural dialogues, collaborations and formal painterly responses.

Thesis (M.L. Arch.)--Virginia Polytechnic Institute and State University, 1989. / Vita. Abstract. Includes bibliographical references (leaves 61-67). Also available via the Internet.

Thesis (MS)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: William Wyckoff. Includes bibliographical references (leaves 457-499).

Thesis (M.S.)--Oregon State University, 1993. / Includes mounted photographs. Typescript (photography). Includes bibliographical references (leaves 52-56). Also available on the World Wide Web.

Thesis (M.F.A.)--Rochester Institute of Technology, 1990. / Typescript. Includes bibliographical references (leaf 20).

Thesis (M.S.)--University of Wisconsin--Madison, 1982. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographies.

Thesis ()--University of Delaware, 2009. / Principal faculty advisor: Wendy Bellion, Dept. of Art History. Includes bibliographical references.

Thesis--Wisconsin. / Vita. Includes bibliographical references (leaves 571-597).