As the introduction to my PhD thesis is, as yet, to be written, I have begun, instead, to make a record of those persons who have assisted me until May of 2005. However, I refer you to my confirmation submission for the most adequate means of provideing an 'introduction'.

ACKNOWLEDGEMENTS

I have many people to thank already and in no particular order; John Dunkley-Smith and Su Baker who were the first administrators I contacted at the VCA. In addition, faculty at the University of Melbourne have responded with support including: Executive Manager, Dr. Peter G Lehman - School of Chemistry, Associate Professor Peter Tregloan - Chemistry, Deputy Director of the Potter Gallery - Dr Robyn Sloggett, Professor Janie Anderson - Sch. of Fine Arts, Classical Studies and Archaeology, Lecturer Susan Lovish - Sch. of Fine Arts, Classical Studies and Archaeology, Dr. Charles Green, Classical Studies and Archaeology, Ken Wach - School of the Creative Arts, Chair Angela O'Brien - Creative School of Arts, Conservator John Payne - National Gallery of Victoria, David Coles - Director of Langridge Colours, Wayne Dyson for instruments, Mike Tanner for the charcoal roaster, the Tinetti family for willow charcoal, Kaylene Dawson for proof-reading my proposal, Julian Cross for assisting in the charcoal - making production and IT Coordinator Michael Szczepanski. During the first year of my PhD Adrian Kellor, Leanne Evans and Katherine - adminstrative assistant, Sam & Bruce and Mark form the sculpture department.

Caroline Miley is my Theoretical Supervisor, and Jon Cattapan my Practical Supervisor.

'The PhD degree signifies that the holder has undertaken a substantial piece of original research, which has been conducted and reported by the holder under proper academic supervision and in a research environment for a prescribed period.'

Granting of the PhD degree in fine art is a new phenomenon. Today, a handful of schools around the world are awarding the degree to artists. PhD's are relatively new, in any subject, at the University of Melbourne, which only adopted the degree in 1947.

The affiliation between the Victoria College of the Arts and the University of Melbourne is also relatively recent, occurring in 1988. Both are elite, yet disparate institutions within the Australian educational system and herein lays the complicated nature of the degree.

'A successful candidacy at the University of Melbourne will consider a dissertation in two parts: one, an exhibition of artwork and two, a forty thousand word dissertation which addresses, elucidates and contextualises the work. The creative work and dissertation will be examined as an integrated whole. The thesis demonstrates authority in the candidate's field and shows evidence of command of knowledge in relevant fields; and shows that the candidate has a thorough grasp of the appropriate methodological techniques and an awareness of their limitations. It makes a distinct contribution to knowledge resting on originality of approach and/or interpretation of the findings and, in some cases, the discovery of new facts. Further, it demonstrates an ability to communicate research findings effectively in the professional arena and in an international context. Finally, it is a careful, rigorous and sustained piece of work demonstrating that a research "apprenticeship" is complete and the holder is admitted to the community of scholars in the discipline.'

Chapter One is a start in what I hope will be a published book chronicling the investigations and results of my dissertation. I propose to write eight chapters in total: use of charcoal, experimentation in the studio, collection in the field, intentions of the maker, reactions by other artist to materials produced, details of binding characteristics, traditional recipes, achieving the glow. These concerns are likely to shift and change as the candidacy commences. However the focus, artists materials and how they are used, likely to remain the same. I will endeavor to address the artwork as an integral part of the written thesis, for the link between them is crucial to a successful candidacy.

A brief synopsis of the original proposal includes the following: re-creation of the coloured palette of Australian Aboriginals, replication of paints used by Renaissance artists and a body of work reflective of, and informed by, these investigations. The acquisition and testing of materials will be observed visually in conjunction with a conservator at the National Gallery of Victoria, the goal being to recognize and develop greater control over the mixing of paints with an eye towards the creation of contemporary works. Additionally, I am proposing to work with a colourman who is able to provide unparalleled access to laboratory that makes paint.

Investigation of pigments and their handling characteristics would be incomplete without venturing beyond the studio/laboratory and into the field. The collection of ochres will be a necessary step in developing an in-depth understanding of the refining process. A study of the native earths of Australia will be undertaken with emphasis placed on various selected sites in Victoria and South Australia. Earth colours: primarily yellows, reds and browns, are the most readily available, and colourfast. They remain permanent, or stable, when subjected to a wide variety of conditions; they are not affected by impurities, sunlight or atmospheric conditions such as humidity and temperature. These investigations will deepen my understanding and sensitivity towards the use of colour in my own work and inform the Research Outcome half of my proposal.