University of Tasmania

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[Documentation for Master of Fine Arts course]

posted on 2023-05-27, 17:01 authored by Paulson, David
In my first year of studio practice as a Master of Pine Arts candidate I attempted to come to terms with the limitations of painting as I saw it at that time, having been dogged by the disturbing notion I was on a painting \treadmill\" and not being prepared to settle for the constant rearrangement of selected images within the formal boundaries of the canvas which has persistently remained remorselessly flat. I will not discuss the semantics of where does painting stop and sculpture begin but rather how difficult it has been to move away from the canvas lured by the fascination of a multitude of methods and materials and an energy requiring some satisfaction with this confrontation. With hindsight at the end of the second year I can see how timid my first steps were: to move \"into the round off into space\". Daunted by the task and not having my brush to support me. I make no apologies for my fascination fat techniques methods or materials and how wonderful it was to avail myself of the splendid printmaking facilities plastics workshop and the exhilaration of being able to \"draw\" a huon-pine hand or foot with a band-saw. Since the writing of my original course proposal (Sept. 1982) my concerns for a view of Australian life have not changed but the issues have certainly altered. My desire to express a consciousness affected by disturbing private experiences and at the same time public experiences felt as personal still remains the positive force in my art making process. The discovery of a sense of play or chance resulting in a less self-conscious approach (as is evident in more formal application of ideas or assertion of methods) has no doubt transposed the restrictive attitudes allied to such procedures as mould making for example. I foresee an extension of this attitude towards my work and a more satisfying result to be achieved with composite assemblage and colour where the risk factor is greater. Midnight wrestling contests with theoretical issues have been personally rewarding. Firstly through a study of the \"Australian Ethos\" underpinning my image making. Secondly a study of more universal theoretical concepts underlying our social constructs. It has been a most interesting and stimulating journey of discovery from Henry Lawson Banjo Paterson and the Queensland bush through to Freud Marcuse Adorno and the infamous studio conditions of the Jones & Co. building. I look to the future with anticipation and a desire for more humour knowing I have benefited immensely from this two year experience."




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Copyright 1984 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). Thesis (M.F.A.)--University of Tasmania, 1985. Includes bibliographical references

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