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    Orthogonal orthodoxy : exegesis presented for PhD
    (Massey University, 2014) Trevelyan, Peter
    In this investigation, drawing and sculpture will occupy (highly mobile and permeable) positions as respectively; ideal, abstract, perfect system in two dimensions, and actual, tenuous, compromised and contingent reality in three. The systems explored here will have their basis in the diagram, a mathematical system for the delineation, quantification and occupation of physical space. The translation of this system into the compromised, imperfect real world will be the main strategy used to investigate these drawing technologies, a three dimensional investigation of two dimensional methods and media. How can a sculptural practice, utilising drawing media as material and geometric formalism as methodology, undertake an investigation of systems (specifically abstract spatial systems, but with wider ramifications too), manipulating those systems so that the audience may experience a bodily affect of dread at the prospect of imminent collapse? I aim to confront the viewer with static object that are felt, understood immediately, viscerally, as being in a process that will systematically lead to its own decay, it is untenable. The research will demonstrate new knowledge in the discipline of sculpture, specifically the effect of gravity as an activating force, producing kineticism in static objects and the affect gravity can induce in the audience when adroitly manipulated as a physical sculptural force.
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    Internal landscapes : pain and trauma injury through the lens of subjective experience : an exegesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2013) Sainsbury, Maria
    My body resonates pain. Lying here, it’s like static on a radio infuriatingly monotonous and irritating in its regularity. Stabbing, burning, aching, it’s a constant vibration of stimulation. So wearying trying to stay on top of it. I’m waiting for the drugs to bring some relief so I can get on with the day. (This extract is taken from my diary before my third spinal surgery.) This thesis project was motivated by my subjective experience of constant pain over nearly a decade. Repeated spinal surgeries culminated in the implantation of rods and screws after a trauma accident. Through the process of research about pain I have recognised that its lack of an external referent makes it difficult to comprehend pain without visual trauma. The difficulty is that the pain experience is internal and not truly capable of being shared. Pain is multidimensional and includes many factors such as physical, mental, social and cultural environments that vary with individual circumstance. I haven’t presented my experience as a narrative but it does assist contextualising the works. I consider a multi discliplined approach to this project may help resonate this experience more articulately. I suggest that my subjective experience of pain manifests in an abstract form within my body. I seek to extrapolate traces of my interior experience by exploring a metaphorical and abstracted vocabulary of sound, sculpture and photography. I have referenced various theorists such as Elaine Scarry, Arne Vetleson and Amelia Jones. Similarly researching Artists from Modern and Contemporary fields such as Josek Sudek, Bob Flanagan, Hannah Wilke and Mona Hatoum. These theorists and artists are working or have worked with themes of pain, trauma and subjectivity. Further to this I have presented research papers at the Massey University Post Graduate Symposium 2012, Occulus - Canterbury University Post Graduate Symposium 2012, Art Association of Australia and New Zealand Annual Conference 2011 and the Zonta Organisation, Mana Chapter 2011. There is no definitive language that can accurately transcribe my subjective experience but I argue parts might be conveyed through a contemporary art project and those parts may ultimately be understood.