“Pods”, “Kernel”, “Untitled (Grey in Pink)”
- Submitting institution
-
The University of Bolton
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 0049_32_REF2_RS_01
- Type
- L - Artefact
- Location
- Manchester
- Open access status
- Compliant
- Month of production
- -
- Year of production
- 2018
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
-
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- Yes
- Additional information
- “Pods”, “Kernel”, “Untitled (Grey in Pink)” are part of a series of paintings exploring poetics and embodiment in contemporary painting.
Contextual Information: The research is informed by specific approaches in poetry linked to mediations of a phenomenological nature; namely perceptions and translations of the senses through an embodied mind.
Specific methodologies involve pared down pictorial choices strategically positioned within the spatial field to prompt a meditative state of contemplation; drawing a visual analogy to the haiku form of poetry. This hybrid of figuration and abstraction invites a slowing down in the viewing procedure to elicit a prolonged attentive gaze, contesting the conditioned disposition to skim inherent in 21st century scanning of visual media.
The research engages Gaston Bachelard’s phenomenology of the imagination and reverie within a 21st century poetics of painterly space which resists the immediate consumption of the image. Paintings such as “Untitled (Grey in Pink)” (2018) signify a space that has been created from lifting paint away, an absence which could be interpreted as existential void or spiritual consciousness of space.
This work suggests that the creative process inflected by poetic ways of seeing offers new contributions to mindfulness practices. The research reveals that this methodology enhances the viewer’s subjective engagement allowing them to bring out their own lived existential experience in the course of viewing. The contemporary relevance of this can be seen in Lavina Greenlaw’s insight that ‘a poem is not a record of an event, it is an event’.
The paintings were shown in group exhibitions Tracer and Wedge (2018) ps. Mirabel, Manchester and Fully Awake 5.6 Freelands Foundation London (2019) and were reviewed in Letters Stolen From The Alphabet.: Tracer and Wedge (inventionofthecorridor.blogspot.com)
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
