University of Tasmania
whole_FielderErrol1995_thesis.pdf (1.2 MB)

Master of Fine Art submission

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posted on 2023-05-26, 22:34 authored by Fielder, Errol
I will not deny the quandary I find myself in when attempting to speculate on the nature of objects and their description. If I had a camera that could create images out of memory I would use it instead of drawing. Drawing can be clumsy and laboured or clinically correct and dispassionate or some how removed from the issues and concerns that are central to my way of making art. However, I will proceed as though the technology for this kind of photography does not exist. It is possibly the description of objects, that is, objects as physical matter, that confounds me most of all. My current practice is to describe objects by drawing and painting them in a variety of ways. Through drawing I hope to demonstrate my concerns with the general workings of memory and recall together with the specifics of some objects and events that have become permanently fixed in my mind, and regularly stimulate recollections of repressed experience (or what I perceive to be specifically repressed experiences). Drawing deals with the psychic mechanisms of the locus, the arbitrariness in choosing elements and their arrangements, in a cohesive way that always remains affective. Decisions concerning the composition of object images follow the rules of parataxis. That is, an arrangement of images and ropositions that allow the interconnections between images to be upplied by the mind of the viewer. The images themselves seem to have an equivalent status, they may appear as habitual. The images have no preordained function, they arrive at their place \out of the blue\". These images extracted from my imagination deal with memory recall recognition and their opposites forgetting repression and incomprehension. I am not just correcting personal prejudices connected to objects. By repeating images and text I hope to evoke moods and sensations by creating an illusion of the passage of time by images occurring and recurring within the work. The art work does not realise its true status by my simply reconstructing images from my past. But its status is improved by my engagement with the physical sensations and outward displays of temperament changes that memory produces at the time of making the art work."




Publication status

  • Unpublished

Rights statement

Copyright 1995 the Author - The University is continuing to endeavour to trace the copyright owner(s) and in the meantime this item has been reproduced here in good faith. We would be pleased to hear from the copyright owner(s). Slides in back pocket. \January 1995\""

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  • Open

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