Channel
| avondale-bepress-to-dspace.faculty | Arts | |
| avondale-bepress-to-dspace.summary | <p><strong>Research Background</strong></p> <p>The notion of employing a methodology for the assemblage of paintings has traditionally been utilized with in the one case what could be described as ‘modular exactitude’ as seen in the works of such artists as Imants Tillers who amasses identically sized canvas boards to configure pre-planned, much larger paintings, and by contrast, for the formation of a ‘field’ as seen in the two-dimensional assemblages of Rosalie Gascoigne. However, a fusion of these two outcomes may be possible in which the assembly of fragment parts, is able to develop a syntagmatic configuration which has not been either pre-planned as is the case of Tillers, nor, merely as a de-constructed singular surface as is the case of Gascoigne.</p> <p><strong>Research Contribution</strong></p> <p>The painting <em>Channel</em> - enamel and butyl rubber on plywood 36cm x 32cm in the exhibition <em>Richard Morris Paintings 2015</em> exhibited at ASW Art Systems Wickham, Newcastle., was formed by deconstructing pre-painted panels, into narrow rectilinear units, which have been re-assembled into a horizontally stacked rectilinear configuration. By utilising a strictly horizontal assembly or ‘stack’ of painted ‘splinters’ of plywood, each with distinct variation in both colour and texture, the work entails a type of stratification, suggestive of a landscape ‘field.’ Such notions can be seen to stem from a similar structuring configuration in the horizontal bands of earth, water and sky which typify a conventional observation of the physical landscape.</p> <p><strong>Research Significance</strong></p> <p>The significance of this research is that <em>Channel</em> extends the practice of painterly de-construction which I first began to experiment with in 1997, to include horizontally aligned rather than vertically aligned bands of component parts. The aesthetic ‘reading’ of the work tends to take place in a vertical fashion, rather than a horizontal fashion as previous work have done. The exhibition’s value is attested by the fact that it was given a positive review by Una Rey under the title “Hit the road for artistic collection” in the Newcastle Herald February 21, 2015.</p> | |
| avondale-bepress.abstract | <p>The painting <em>Channel</em> - enamel and butyl rubber on plywood 36cm x 32cm in the exhibition <em>Richard Morris Paintings 2015</em> exhibited at ASW Art Systems Wickham, Newcastle., was formed by deconstructing pre-painted panels, into narrow rectilinear units, which have been re-assembled into a horizontally stacked rectilinear configuration. By utilising a strictly horizontal assembly or ‘stack’ of painted ‘splinters’ of plywood, each with distinct variation in both colour and texture, the work entails a type of stratification, suggestive of a landscape ‘field.’ Such notions can be seen to stem from a similar structuring configuration in the horizontal bands of earth, water and sky which typify a conventional observation of the physical landscape.</p> | |
| avondale-bepress.articleid | 1028 | |
| avondale-bepress.authors | Richard Morris | |
| avondale-bepress.context-key | 6738306 | |
| avondale-bepress.coverpage-url | https://research.avondale.edu.au/arts_creativeworks/26 | |
| avondale-bepress.document-type | creativework | |
| avondale-bepress.field.author_faculty_discipline | Arts | |
| avondale-bepress.field.comments | <p>Used by permission: the artist</p> | |
| avondale-bepress.field.creator | <p><strong>Research Background</strong></p> <p>The notion of employing a methodology for the assemblage of paintings has traditionally been utilized with in the one case what could be described as ‘modular exactitude’ as seen in the works of such artists as Imants Tillers who amasses identically sized canvas boards to configure pre-planned, much larger paintings, and by contrast, for the formation of a ‘field’ as seen in the two-dimensional assemblages of Rosalie Gascoigne. However, a fusion of these two outcomes may be possible in which the assembly of fragment parts, is able to develop a syntagmatic configuration which has not been either pre-planned as is the case of Tillers, nor, merely as a de-constructed singular surface as is the case of Gascoigne.</p> <p><strong>Research Contribution</strong></p> <p>The painting <em>Channel</em> - enamel and butyl rubber on plywood 36cm x 32cm in the exhibition <em>Richard Morris Paintings 2015</em> exhibited at ASW Art Systems Wickham, Newcastle., was formed by deconstructing pre-painted panels, into narrow rectilinear units, which have been re-assembled into a horizontally stacked rectilinear configuration. By utilising a strictly horizontal assembly or ‘stack’ of painted ‘splinters’ of plywood, each with distinct variation in both colour and texture, the work entails a type of stratification, suggestive of a landscape ‘field.’ Such notions can be seen to stem from a similar structuring configuration in the horizontal bands of earth, water and sky which typify a conventional observation of the physical landscape.</p> <p><strong>Research Significance</strong></p> <p>The significance of this research is that <em>Channel</em> extends the practice of painterly de-construction which I first began to experiment with in 1997, to include horizontally aligned rather than vertically aligned bands of component parts. The aesthetic ‘reading’ of the work tends to take place in a vertical fashion, rather than a horizontal fashion as previous work have done. The exhibition’s value is attested by the fact that it was given a positive review by Una Rey under the title “Hit the road for artistic collection” in the Newcastle Herald February 21, 2015.</p> | |
| avondale-bepress.field.custom_citation | <p>Morris, R. (2015). <em>Channel</em> [Enamel and butyl rubber on plywood]. ASW Art Systems Wickham, Newcastle, Australia.</p> | |
| avondale-bepress.field.embargo_date | 2015-02-26T00:00:00Z | |
| avondale-bepress.field.field_of_education | 10 Creative Arts | |
| avondale-bepress.field.for | 190502 Fine Arts (incl. Sculpture and Painting) | |
| avondale-bepress.field.ntro | Creative Work - Visual Art | |
| avondale-bepress.field.publication_date | 2015-02-01T00:00:00Z | |
| avondale-bepress.field.quality | Disseminated via nationally recognised outlet or entity | |
| avondale-bepress.field.reportable_items | Creative Work | |
| avondale-bepress.field.scale | Major | |
| avondale-bepress.field.source_publication | <p>This creative work was originally published as:</p> <p>Morris, R. (2015). <em>Channel</em> [Enamel and butyl rubber on plywood]. ASW Art Systems Wickham, Newcastle, Australia.</p> | |
| avondale-bepress.field.staff_classification | Permanent | |
| avondale-bepress.fulltext-url | https://research.avondale.edu.au/cgi/viewcontent.cgi?article=1028&context=arts_creativeworks&unstamped=1 | |
| avondale-bepress.keywords | painting | |
| avondale-bepress.keywords | assemblage | |
| avondale-bepress.keywords | landscape | |
| avondale-bepress.label | 26 | |
| avondale-bepress.publication-date | 2015-02-01T00:00:00Z | |
| avondale-bepress.publication-title | Arts Creative Works | |
| avondale-bepress.state | published | |
| avondale-bepress.submission-date | 2015-02-26T17:59:15Z | |
| avondale-bepress.submission-path | arts_creativeworks/26 | |
| avondale-bepress.title | Channel | |
| avondale-bepress.type | article | |
| dc.contributor.author | Morris, Richard | |
| dc.date.accessioned | 2023-11-01T00:39:22Z | |
| dc.date.available | 2023-11-01T00:39:22Z | |
| dc.date.issued | 2015-02-01 | |
| dc.date.submitted | 2015-02-26T17:59:15Z | |
| dc.description.abstract | <p>The painting <em>Channel</em> - enamel and butyl rubber on plywood 36cm x 32cm in the exhibition <em>Richard Morris Paintings 2015</em> exhibited at ASW Art Systems Wickham, Newcastle., was formed by deconstructing pre-painted panels, into narrow rectilinear units, which have been re-assembled into a horizontally stacked rectilinear configuration. By utilising a strictly horizontal assembly or ‘stack’ of painted ‘splinters’ of plywood, each with distinct variation in both colour and texture, the work entails a type of stratification, suggestive of a landscape ‘field.’ Such notions can be seen to stem from a similar structuring configuration in the horizontal bands of earth, water and sky which typify a conventional observation of the physical landscape.</p> | |
| dc.identifier.citation | <p>Morris, R. (2015). <em>Channel</em> [Enamel and butyl rubber on plywood]. ASW Art Systems Wickham, Newcastle, Australia.</p> | |
| dc.identifier.uri | https://research.avondale.edu.au/handle/123456789/06738306 | |
| dc.language.iso | en_us | |
| dc.provenance | <p>This creative work was originally published as:</p> <p>Morris, R. (2015). <em>Channel</em> [Enamel and butyl rubber on plywood]. ASW Art Systems Wickham, Newcastle, Australia.</p> | |
| dc.rights | <p>Used by permission: the artist</p> | |
| dc.subject | painting | |
| dc.subject | assemblage | |
| dc.subject | landscape | |
| dc.title | Channel | |
| dc.type | Creative Work |
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