Bay
| avondale-bepress-to-dspace.faculty | Arts | |
| avondale-bepress-to-dspace.summary | <p><strong>Research Background</strong></p> <p>Paintings which by nature are amassed from layers of deposited brushstrokes, have traditionally worked from the ‘ground’ to the ‘figure’ in the sense of differentiating figure/ground relationships in a work. Such an approach to paintings destroys much of the underpainting in a work for the purpose of resolving the compositional/aesthetic concerns of the artist. This body of work aims to employ a methodology of practice whereby the initial underpainting of a work is celebrated quite tangibly and visibly, in the final configuration of a work.</p> <p><strong>Research Contribution</strong></p> <p>The painting <em>Bay</em>, incorporates a combination of methodologies for its fabrication. The first of these is the notion of constructing a field of underpainting, and the second is the incorporation of a ground which is applied over the top of this underpainting, except for those areas which remain visible underpainting. In this manner, the underpainting forms the ‘figure’ in the sense of ‘figure/ground’ relationship in the work, which equates to a kind of working in reverse to traditional painting practice. Further to this, alterations to the ‘figure’ of the work were conducted by removing sections of ‘ground’ rather than applying further paint. Here too sgraffito; itself a convention of erasure or a means of removing paint, played a reversed role in the final appearance of the work, accompanying more conventional brushstrokes with incised delineations in the final configuration of the work.</p> <p><strong>Research Significance</strong></p> <p>The significance of this research is that it typifies a kind of reversal of a traditional painting methodology which works from the ground, or ‘back’, to the figure, or ‘front’ of a painting. <em>Bay</em>, along with other works in this exhibition, can be seen to have value that the work was given the main exhibition wall at the Robin Gibson Gallery.</p> | |
| avondale-bepress.abstract | <p>Paintings, such as Bay, which by nature are amassed from layers of deposited brushstrokes, have traditionally worked from the ‘ground’ to the ‘figure’ in the sense of differentiating figure/ground relationships in a work. Such an approach to paintings destroys much of the underpainting in a work for the purpose of resolving the compositional/aesthetic concerns of the artist. This body of work aims to employ a methodology of practice whereby the initial underpainting of a work is celebrated quite tangibly and visibly, in the final configuration of a work.</p> | |
| avondale-bepress.articleid | 1013 | |
| avondale-bepress.authors | Richard Morris | |
| avondale-bepress.context-key | 6431671 | |
| avondale-bepress.coverpage-url | https://research.avondale.edu.au/arts_creativeworks/17 | |
| 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>Paintings which by nature are amassed from layers of deposited brushstrokes, have traditionally worked from the ‘ground’ to the ‘figure’ in the sense of differentiating figure/ground relationships in a work. Such an approach to paintings destroys much of the underpainting in a work for the purpose of resolving the compositional/aesthetic concerns of the artist. This body of work aims to employ a methodology of practice whereby the initial underpainting of a work is celebrated quite tangibly and visibly, in the final configuration of a work.</p> <p><strong>Research Contribution</strong></p> <p>The painting <em>Bay</em>, incorporates a combination of methodologies for its fabrication. The first of these is the notion of constructing a field of underpainting, and the second is the incorporation of a ground which is applied over the top of this underpainting, except for those areas which remain visible underpainting. In this manner, the underpainting forms the ‘figure’ in the sense of ‘figure/ground’ relationship in the work, which equates to a kind of working in reverse to traditional painting practice. Further to this, alterations to the ‘figure’ of the work were conducted by removing sections of ‘ground’ rather than applying further paint. Here too sgraffito; itself a convention of erasure or a means of removing paint, played a reversed role in the final appearance of the work, accompanying more conventional brushstrokes with incised delineations in the final configuration of the work.</p> <p><strong>Research Significance</strong></p> <p>The significance of this research is that it typifies a kind of reversal of a traditional painting methodology which works from the ground, or ‘back’, to the figure, or ‘front’ of a painting. <em>Bay</em>, along with other works in this exhibition, can be seen to have value that the work was given the main exhibition wall at the Robin Gibson Gallery.</p> | |
| avondale-bepress.field.custom_citation | <p>Morris, R. (2011). <em>Bay</em> [Oil & enamel on board]. Robin Gibson Gallery, Sydney, Australia.</p> | |
| avondale-bepress.field.embargo_date | 2014-12-07T00:00:00Z | |
| 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 | 2011-05-01T00:00:00Z | |
| avondale-bepress.field.quality | Disseminated via nationally recognised outlet or entity | |
| avondale-bepress.field.source_publication | <p>This creative work was originally published as:</p> <p>Morris, R. (2011). <em>Bay</em> [Oil & enamel on board]. Robin Gibson Gallery, Sydney, Australia.</p> | |
| avondale-bepress.fulltext-url | https://research.avondale.edu.au/cgi/viewcontent.cgi?article=1013&context=arts_creativeworks&unstamped=1 | |
| avondale-bepress.label | 17 | |
| avondale-bepress.native-url | https://research.avondale.edu.au/context/arts_creativeworks/article/1013/type/native/viewcontent | |
| avondale-bepress.publication-date | 2011-05-01T00:00:00Z | |
| avondale-bepress.publication-title | Arts Creative Works | |
| avondale-bepress.state | published | |
| avondale-bepress.submission-date | 2014-12-07T21:18:39Z | |
| avondale-bepress.submission-path | arts_creativeworks/17 | |
| avondale-bepress.title | Bay | |
| avondale-bepress.type | article | |
| dc.contributor.author | Morris, Richard | |
| dc.date.accessioned | 2023-11-01T00:38:49Z | |
| dc.date.available | 2023-11-01T00:38:49Z | |
| dc.date.issued | 2011-05-01 | |
| dc.date.submitted | 2014-12-07T21:18:39Z | |
| dc.description.abstract | <p>Paintings, such as Bay, which by nature are amassed from layers of deposited brushstrokes, have traditionally worked from the ‘ground’ to the ‘figure’ in the sense of differentiating figure/ground relationships in a work. Such an approach to paintings destroys much of the underpainting in a work for the purpose of resolving the compositional/aesthetic concerns of the artist. This body of work aims to employ a methodology of practice whereby the initial underpainting of a work is celebrated quite tangibly and visibly, in the final configuration of a work.</p> | |
| dc.identifier.citation | <p>Morris, R. (2011). <em>Bay</em> [Oil & enamel on board]. Robin Gibson Gallery, Sydney, Australia.</p> | |
| dc.identifier.uri | https://research.avondale.edu.au/handle/123456789/06431671 | |
| dc.language.iso | en_us | |
| dc.provenance | <p>This creative work was originally published as:</p> <p>Morris, R. (2011). <em>Bay</em> [Oil & enamel on board]. Robin Gibson Gallery, Sydney, Australia.</p> | |
| dc.rights | <p>Used by permission: the artist</p> | |
| dc.title | Bay | |
| dc.type | Creative Work |