Tussocks
| avondale-bepress.context-key | 6440930 | |
| avondale-bepress.submission-path | arts_creativeworks/21 | |
| avondale.affiliate | Morris, Richard | |
| avondale.department | Scripture, Spirituality and Society Research Centre | |
| avondale.faculty | Arts | |
| avondale.reporting.version | Published Version | |
| dc.contributor.author | Morris, Richard | |
| dc.date.accessioned | 2023-11-01T00:38:50Z | |
| dc.date.available | 2023-11-01T00:38:50Z | |
| dc.date.issued | 2000-02-01 | |
| dc.date.submitted | 2014-12-09T16:29:24Z | |
| dc.description.abstract | <p>The notion of employing a methodology for the assemblage of paintings such as tussocks 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> | |
| dc.identifier.citation | <p>Morris, R. (2000). <em>Tussocks</em> [Oil & enamel on board]. Von Bertouch Galleries, Newcastle, Australia.</p> | |
| dc.identifier.uri | https://research.avondale.edu.au/handle/1897/06440930 | |
| dc.language.iso | en_us | |
| dc.provenance | <p>This creative work was originally published as:</p> <p>Morris, R. (2000). <em>Tussocks</em> [Oil & enamel on board]. Von Bertouch Galleries, Newcastle, Australia.</p> | |
| dc.rights | <p>Used by permission: the artist</p> | |
| dc.subject | art work | |
| dc.title | Tussocks | |
| dc.type | Original Creative Work - Visual Art Work |