Output details

"Beyond the View"

Solo Touring Exhibition

ISBN: 978-0-9807878-4-9; accompanying publication “Hijacked 111” (Big City Press)

Research Context

The theoretical context for the research was drawn from alternative approaches to modernist models of vision proposed by Rosalind Krauss and her discussions of a rhythm or pulse which functions against the stability of visual space and has the power to decompose and dissolve the coherence of form upon which visuality may be thought to depend.

Research Imperatives

The research explores relationships between vision and touch with specific reference to the computer screen and the process of erasure through drawing. It investigated new ways of application of functions embedded in computer imaging software such as Photoshop.

Project methods

The processes undertaken are made visible across the surface of the images and explore the convergence of the optic and the haptic through an extended hand-made mark making on the computer screen. Two images are enmeshed together by a process of drawing-as-erasure, whereby lines drawn in the top image allow the bottom image to appear. A principal effect of the work is, as Sear observes in her interview with Watts, that seeing the image behind the raised line of the top image reverses the normal function of a drawn line that normally represents a boundary begin figure and ground.

These processes were first discussed as part of a critical commentary for a PhD by publication (University of Wales, 2009).

Dissemination

Hoopers Gallery, London (2009)

“We have The Mirrors, we have the Plans”, Oriel Mostyn, Llandudno, Wales (2009)

Klompching Gallery, New York (2010)

Quad Gallery Derby: (2012)

“Hijacked 111” (2011) touring as one of 35 selected artists from UK and Australia:

Perth Institute for Contemporary Art Australia: (2012)

Australian Centre for Photography Sydney, Australia; (2012)

Griffith University Art Gallery Queensland, Australia (2012)

Bildkultur, Stuttgart

Dong Gang Photo Festival, Korea, (2013)