Master of Visual Arts / The Dissertation is a meditation on our relationship with this continent and its layered physical and psychological ‘landscapes’. It explores ways in which artists and writers have depicted our ‘thin’ but evolving presence here in the South, and references my own photographic work. The paper weaves together personal tales with fiction writing and cultural, settler and indigenous history. It identifies a uniquely Australian sense of 21st-century disquiet and argues for some modest aesthetic and social antidotes. It discusses in some detail the suppression of focus in photography, and suggests that the technique evokes not only memory, but a recognition of absence, which invites active participation (as the viewer attempts to ‘place’ and complete the picture). In seeking out special essences of place the paper considers the suburban poetics of painter Clarice Beckett, the rigorous focus-free oeuvre of photographer Uta Barth, and the hybrid vistas of artist/gardener Peter Hutchinson and painter Dale Frank. Interwoven are the insights of contemporary authors Gerald Murnane, W G Sebald and Paul Carter. A speculative chapter about the fluidity of landscape, the interconnectedness of land and sea, and Australia’s ‘deep’ geology fuses indigenous spirituality, oceanic imaginings of Australia, the sinuous bush-scapes of Patrick White, and the poetics of surfing. Full immersion is recommended.
| Identifer | oai:union.ndltd.org:ADTP/283238 |
| Date | January 2005 |
| Creators | Watson, David Rowan Scott |
| Publisher | University of Sydney., Sydny College of the Arts, Photomedia |
| Source Sets | Australiasian Digital Theses Program |
| Language | en_AU |
| Detected Language | English |
| Rights | The author retains copyright of this thesis., http://www.library.usyd.edu.au/copyright.html |
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