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dc.contributor.advisorRedmond, Monique
dc.contributor.advisorCullen, Paul
dc.contributor.authorKosovac, Ena
dc.date.accessioned2009-11-30T21:25:53Z
dc.date.available2009-11-30T21:25:53Z
dc.date.copyright2009
dc.date.issued2009-11-30T21:25:53Z
dc.identifier.urihttp://hdl.handle.net/10292/799
dc.description.abstractI am a painter with a huge attachment to objects. In this painting project I aim to make objects whose objecthood is formed by the collision of the different languages of both painting and sculpture – objects that negotiate the boundary line between traditional genre divisions. These objects react to one another, where an aspect of one suggests the next, so that they develop like an epidemic. And therefore this project functions in an accumulative way, where each work or body of work acts as a stepping-stone for the next, so that the objects descend from a common ancestor and have a common origin. The project is primarily installational in nature – in the sense that, although emphasis is put on the individual objects, they are viewed together in installations, not as separate entities. I aim to consider installation in terms of the language of painting, which constitutes the formal underpinning of my practice.
dc.language.isoenen
dc.publisherAuckland University of Technology
dc.subjectPainterly language
dc.subjectSculptural language
dc.subjectTinkering
dc.subjectObjecthood
dc.subjectInstallation
dc.subjectObject
dc.titleAwkward formalism: the role of objects in contemporary painting installation
dc.typeThesis
thesis.degree.grantorAuckland University of Technology
thesis.degree.levelMasters Theses
thesis.degree.nameMaster of Arts in Art and Design
dc.rights.accessrightsOpenAccess


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