Output details

Workshop (2010-ongoing)

Brief Description: The book publication, ‘Painting as an Interdisciplinary Form’, is an in-depth analysis of the potential of interdisciplinary approaches to contemporary painting practice. It derives from an investigation into the philosophy of Gilles Deleuze and issues a challenge to the medium-specific limitations of previous formalisms. The ideas contained within re-negotiate the theorisation and realisation of painting by proposing a commonality with Bergsonian and Deleuzian motifs of the virtual. In particular the book puts forward ideas of change and the new in relation to Deleuzian becomings; presenting new methods for contemporary painting. Research Rationale: The purpose behind the publication of this book was to examine and discuss key issues in relation to contemporary painting, considered through a very different process from previously articulated models. In contrast to the dialectically dependent approach of previous formalisms, the concerns evident within the philosophical writings of Gilles Deleuze open new methods for considering the internalised and medium-specific nature of the contemporary practice of painting. In contrast to internal critique, external relationships (including architectural theory - sourced alongside the philosophical enquiry) are discussed in order to present radically new ways for painting to be considered. This presents a more open-ended and inclusive practice to be established, and can be used as an exemplar for thinking through different disciplines. Strategies Undertaken: Over the last ten years it has become evident that painting as a practice has expanded from its conventional position, however the critical armatures for considering these developments have not been in place. It is for this reason that the theoretical/critical ground for the work, focused upon an in-depth analysis of the writings of Deleuze, which enables and, in fact, forces interdisciplinarity. The book acts as an investigation through Deleuzian methodologies as a way in which to re-consider the methodological strategies evident within (embedded within) previous painting practices.