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.
| Identifer | oai:union.ndltd.org:ADTP/222373 |
| Date | January 2009 |
| Creators | Chan, Janet Bick Lai, Art, College of Fine Arts, UNSW |
| Publisher | Publisher:University of New South Wales. Art |
| Source Sets | Australiasian Digital Theses Program |
| Language | English |
| Detected Language | English |
| Rights | http://unsworks.unsw.edu.au/copyright, http://unsworks.unsw.edu.au/copyright |
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