Frames
| avondale-bepress.context-key | 6431644 | |
| avondale-bepress.submission-path | arts_creativeworks/10 | |
| 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 | 2023-11-01T00:38:49Z | |
| dc.date.available | 2023-11-01T00:38:49Z | |
| dc.date.issued | 2012-08-01 | |
| dc.date.submitted | 2014-12-07T20:52:24Z | |
| dc.description.abstract | <p>Paintings, such as Frames, which by nature are assembled from pre-painted fragments of some type or another can be seen in the work <em>Brushstrokes Cut into Forty-Nine Squares and Arranged by Chance, 1951</em> by Ellsworth Kelly. While it can be seen that this work represents a synthesis between the practice’s of Collage, and Painting, it does not appear to be concerned with configuration beyond that which has been achieved by chance within the modular grid of identical parts comprising the completed work. Such an approach to assembled paintings overlooks the possibility of infusing such a methodology with a more heightened editorial process of re-forming a pictorial whole through the more deliberate editorial technique of varying the dimensions of fragment parts to attain this new pictorial configuration.</p> | |
| dc.identifier.citation | <p>Morris, R. (2012). <em>Frames</em> [Oil & enamel on board]. Robin Gibson Gallery, Sydney, Australia.</p> | |
| dc.identifier.uri | https://research.avondale.edu.au/handle/1897/06431644 | |
| dc.language.iso | en_us | |
| dc.provenance | <p>This creative work was originally published as:</p> <p>Morris, R. (2012). <em>Frames</em> [Oil & enamel on board]. Robin Gibson Gallery, Sydney, Australia.</p> | |
| dc.rights | <p>Used by permission: the artist</p> | |
| dc.subject | artwork | |
| dc.title | Frames | |
| dc.type | Original Creative Work - Visual Art Work |