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CONFIRMATION REPORT |  |
(I) the concise statement of the research question(s):
'Describing Air from Earth - Sticks and Stones the use of earth pigments in South-Eastern Australia by a Contemporary Artist'
A personal exploration of these coloured materials will lead to a greater ability in the capacity to control the opacity, translucency and transparency of given pigments. Both the thesis and the artwork, in combination, will illuminate each other.
(II) an argument for the relevance and importance of the study:
Between artist statements and art historical analysis there frequently exists unrecorded data concerning methodology in a painters' studio. If armed with this knowledge a painter might likely make more informed choices. Investigation of certain pigments with the aim of exposing their handling characteristics in a clear and logical manner will make it relevant for artists of today.
Despite Western painting being one of the most often studied subjects in European Art History, the elusive nature of the studio, has not, to my knowledge been, nor will likely ever be, fully explored. As there are many aspects, both theoretical and practical which may be examined, I have determined to limit my study to the use of earth pigments by Contemporary artists. The variety of earth pigments available locally; yellow, red, brown, and white, plus the ease of producing black, is large enough to warrant investigation a complex palette may be made of these few colours, but I would exclude the attempted manufacturing of synthetic colour. As a practicing artist, and having been made aware of the need for a seamless interaction between the visual and verbal in this PhD program, I need to make room for the inclusion of synthetic colours within my own art practice.
An investigation into the handling characteristics of these chosen pigments is a natural progression for any artist interested in the raw materials he/she is utilizing, this text will assist in that venture.
(III) An explanation of the conceptual framework to be employed:
I am employing a more scientific conceptual framework rather than a theoretical one, and will continue to organize the written thesis in the following manner:
Introduction: This section will give an overview of the project, both visual and verbal, detailing the nature of the study. Highlighted will be the relevant information discussed within each chapter, including an introduction to the research methodology employed. The genesis of the thesis was arrived at through my attraction to, and subsequent use of, raw pigments. Therefore, both the use of pigments in artwork and a record of its use will be appropriate. The specific colours to be analysed will be introduced including; charcoal, yellow ochre, red ochre and white ochre.
I intend to include material from my paper, given at the research seminar, concerning details of the studio practice of other artists. Although perhaps not immediately apparent, the accessing and investigating of such activities sparks leaps across time and practice, bypassing culture and theoretical boundaries.
Yellow Ochre: The use of ochre by the indigenous population of Australia, European painters, and continued use by Contemporary painters will be discussed; a specific description of my own attempts at locating, refining and grinding the raw earth into workable material will also be detailed. Although the interaction with synthetic colours such as hansa yellow or cadmium yellow may be considered, they are excluded from this thesis for health and safety reasons- unnecessary complications. However, in their refined form, rendered inert by a manufacturing process, there use in artwork acceptable.
Red Ochre: Although this colour is not as commonly used, red ochre is easily located all over Australia. However, I am limiting myself to the southeastern corner. I have located the pigment on seaside cliffs near Apollo Bay, in the flats near the Grampians, and in mullock heaps between Melbourne and Castlemaine. The variety of reds, from warm to cool provides a variety of different chromas that I exploit in my own painting practice.
Brown Ochre: A description, which fits a catch-all category of colours, not red, yet not yellow, is less easily define, these materials will be sifted and used primarily as an underpainting colour in combination with white to create value. Burnt sienna, a transparent slow drying pigment may be contrasted with burnt umber a fast drying opaque colour.
White Ochre: Technically, white ochre is a misnomer, and it is comprised usually of calcium carbonate, or chalk. This pigment has been traditionally painted on skin in ceremonies, as white pigment on bark paintings, and as a ground in Western painting grounds. I have collected a variety of different chalks and found they have a tendency to become more yellow or grey when combined with linseed oil as opposed to water and therefore have been of less use than the black, yellow and red ochre. However, when combined with charcoal produce a satisfying cool tone.
A summary of the research methodology proposed:
- Locating, refining
and grinding of pigments in combination with linseed oil.
- Digitally recording the process and the results
- Painting with these self-manufactured pigments on panels
and canvas.
- Producing a written recording of the visual effects observed
including, but not being limited to: texture chroma and value.
- Interaction with other pigments which serve to enhance
the visual appearance of a base pigment will be explored
(IV) the proposed schedule and timeline for the phases of the study, including a date for submission:
15/10/ 03 · Probationary candidacy begun · artwork begins and raw pigments are used in conjunction of a gum arabic binder
27/09/04 · Seminar Presentation based on a prepared text of not less than 3, 000 words
28/ 09/04 · presented works completed in the last six months show at Red Gallery, North Fitzroy
14/10/04 · recommendation must be sent to the SGS by this date
15/11/04 · submission of 5,000 to supervisor
01/12/04 · Completion of a small body of artwork available for review
15/12/04 · one man show in New York State
01/02/05 · 5,000 words submitted to supervisor
01/03/05 · Completion of a set of paintings available for review
01/05/05 · 5,000 words submitted on the subject of white ochre
01/08/05 · revision of previous texts edited and re-submitted
01/10/05 · Gallery show scheduled with work from the previous year available for review
15/12/05 · Annual meeting with supervisors and postgraduate committee
15/01/06 · Submission of 'Introduction Chapter' to supervisors
01/03/06 · Completion of a set of
paintings available for review
15/03/06 · Submission of 'Conclusion Chapter' to
supervisors
01/06/06 · Completion of a set of
paintings available for review
15/06/06 · Submission of preliminary 40,000 word
thesis
15/10/06 · Re-submission of thesis
15/10/06 · Final Exhibition of artwok
(V)A critical summary and analysis of relevant literature:
There are an adequate number of texts available to me in Melbourne, reading material has been found primarily at the Victoria College of the Arts, University of Melbourne and at the State Library of Victoria. The literature covers the historical use of, practical manipulation with, and scientific properties of, pigments. As well, I own several books in a small collection.
There are primarily three different categories of books I have consulted thus far and I have included a few examples with each:
Manuals - Cennini's The Craftsman's Handbook, Ralph Mayer's' The Artist Handbook of Materials and Techniques, Stout and Gettens' Painting Materials
These texts are often very instructive in their approach, proportional measurements concerning the % of oil to be mixed with particular pigments, and health and safety issues are well covered in them. Mayer's Handbook is considered the primary source for information concerning painting materials.
Notes from the studio - James Lord's A Giacometti Portrait, Robert Goldwater & Marco Treves' Artists on Art
Often written with little footnoting these texts are primarily written in the first person in the form of 'observations in the studio' or as a collection of thoughts by less well known artists. They are valuable as anecdotal descriptions of artistic procedures.
Scientific monographs - Simon Garfield's Mauve, Philip Ball's, Bright Earth, Victoria Finlay's, Color: A Natural History of the Palette.
Recently, there have been
a number of books written on colours, and these are closest to
my own intentions in writing my thesis. However, as a practicing
artist has not written them, they lack the insight an artist has
into the subject.
Details of equipment/technical/studio requirements:
Equipment requirements: Equipment to assist me in the refining and grinding of pigments would be welcome. Covering the cost of copying information, duplication of slides, recording of artwork on film or digitally recording would also be appreciated.
Technical requirements: Fred Colla has been invaluable in several instances, as have several other staff members in answering questions or assisting on projects from the grinding of pigment to transportation of artwork.
Studio requirements: In order to effectively carry out my research it would be preferable to have a larger space in which to work.
A list of publications, exhibitions and presentations made during probationary candidature:
During the eleven months of my candidacy, I have participated in three one-man shows and a two-person show. The first show was held at the Malthouse, a venue close to the VCA and one that had an appreciable audience. My work included new charcoal drawings, silverpoint drawings and oil paintings. The second show involved taking work from Australia to the US and having a one-person exhibition at the University of IIlinois' gallery. This work again consisted of charcoal on canvas and paintings on linen. My concerns were with the depiction of characters or totem images as the works were titled, Captain of the Guard, the King, the Queen, the Assassin, and the Torchbearer. Upon assembling the show the curator challenged me to create a charcoal piece on the wall, and I created my first wall piece installation, I am hoping to do more of these projects in public or private spaces if opportunities become available. The same show then travelled to Denver, Colorado, and opened at Space Gallery in the beginning of September.
Finally, at the end of September, held in conjunction with my PhD confirmation report, is an exhibit at the Red Gallery in North Fitzroy. Two fellow artists, Kim Vernon and Ian Wells, who both work at a paint-making factory, agreed to hold three exhibitions simultaneously. The work consists of paintings created in the last six months and was well received.
In addition, I was hired by the Victorian Law Foundation to lecture at the Children's Court, the Magistrates Court, and at the Federal Court in Melbourne on the public art that is readily available to the public and chose work from the High Court's collection to be viewed in a special exhibition. I was in contact with some of Australia's leading artist because of this interaction including; Sean Meliak, Aida Tomescu, Bruce Armstrong and Robert Owen. Although not immediately relevant to my PhD, it did serve to introduce me to a wider community of artists.
A summary of progress to date:
Much progress has been made. Through a number of meetings with both supervisors I have continued to refine my areas of interest and opened new avenues to explore. There is a delicate balance between theory and practice and I am seeking to refine this blending. Determining how work in the studio relates to words on the page has been a challenge, but as both of these areas are worked towards a middle ground I can begin to see solutions. A 10,000 word manual has been written and researched. A body of work has been produce in the past eleven months which explores paint and colour, specifically dealing with underpainting and glazing combinations. The subject matter, the struggle in a figure-ground relationship for a definite resolution, although not the subject of this thesis, per se, has continued to evolve.
Collection of raw materials has gone on in several collection sites, paints have been made and used and palette charts used. The visual recording of the results may most dramatically be seen in the photographs of an artwork as it starts with the earth pigments and finishes with oil glazes.
Seminar Presentation: based on a prepared text of not less than 3,000 words
Exhibition of relevant work: Red Gallery exhibition
The SGS must receive, and did receive, a recommendation for confirmation from the VCA no later than 12 months from the date of enrolment.
A bibliography: see bibliographies on web-page