Abstraction and its processes : a studio investigation of the ongoing relevance of non-figurative art

Kelly, Wendy Louise

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Abstraction and its processes : a studio investigation of the ongoing relevance of non-figurative art

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Kelly, Wendy Louise. Monash University. Faculty of Art and Design. Department of Fine Arts; 2010. Abstraction and its processes : a studio investigation of the ongoing relevance of non-figurative art.

Please use this identifier to cite or link to this item: http://arrow.monash.edu.au/hdl/1959.1/260070

Title: Abstraction and its processes : a studio investigation of the ongoing relevance of non-figurative art
Creator: Kelly, Wendy Louise
Contributor: Principal Supervisor: Bernard Hoffert
Subject: Abstraction
Subject: Abstract painting and works on paper
Subject: Non-figurative
Subject: Non-objective
Subject: Reductive aesthetics
Subject: Minimalism
Subject: Post-minimalism
Subject: Conceptualism
Subject: Geometric Abstraction
Subject: Abstraction’s visual language
Subject: Contemporary abstraction
Subject: Abstraction’s adaptability
Subject: Studio research
Subject: Abstraction’s evolutionary process
Subject: Abstraction’s material processes
Subject: Four generations of abstraction
Subject: Modernism
Subject: Abstract Expressionism
Subject: Post-formalism
Subject: Post-modern
Date: 2010
Publisher: Monash University. Faculty of Art and Design. Department of Fine Arts
Description: How a painting “is”, the nature of its being, is partially determined by tools such as paint, canvas and brush; the history of what has been done in painting up to the current moment, “one can paint only out of the history of paint”; and an analysis of the concept of “medium”, as a grammar or family of concepts that cluster around the medium of paint.1. (Mark Titmarsh Art Monthly May. 2006.) The objective of this research is a studio investigation to augment an examination of non-figurative abstraction and demonstrate its relevance and continued viability through adaptability and continued exploration. The resulting body of work embodies my interpretation of non-figurative abstraction, communication, visual language and processes. The aim of this exegesis is to investigate abstraction and honour its relevance in two dimensional visual arts and its role as a language for visual communication. It will explore the application of abstraction as a form of visual expression. The exegesis will examine the historical and sociological processes by which abstraction has evolved, and also examine process in a practical way as an underpinning of the development of abstract art. The evolution of abstraction has meant that the materials and methods of mark making have been freed to be interpreted in complex and innovative ways. Abstraction’s role within visual language has been to communicate with an intensity that can touch a wide range of emotions and reactions. Abstraction warrants investigation because of its past and continuing contribution to visual art. As a visual language, the constant re-invention of abstraction indicates relevance, and its influence is being felt contemporaneously. As an artist, some developments within the genre have influenced my work more than others, and examples of artists, methods, and materials from past “movements” or “generations” of abstraction will be explored to address the problematical vera causa within development. Non-figurative abstraction, the role of its evolutionary process and the impact of material processes therein, will form the basis of this discussion. 1. Mark Titmarsh. Shapes of Inhabitation, Painting in the Expanded Field”, Art Monthly no 189 (2006)

collection(s): Doctorate theses
collection(s): Monash University Theses
Identifier: http://arrow.monash.edu.au/hdl/1959.1/260070
Identifier: ethesis-20101012-100320
Identifier: monash:53504
Language: eng
Rights: Restricted access: access to thesis full text is restricted to institutional document delivery requests to supply the thesis in whole or part, under Section 51 (2) of the Australian Copyright Act 1968.
Rights: This thesis is protected by copyright. Copyright in the thesis remains with the author. The Monash University ARROW Repository has a non-exclusive licence to publish and communicate this thesis online.
Type: thesis
Type: thesis(doctorate)

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Doctorate theses

Abstraction and its processes : a studio investigation of the ongoing relevance of non-figurative art

Monash University Research Repository