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Subject: search.filters.subject.Senses and sensation in art

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    Phenomenal tense : a thesis presented in partial fulfilment of the requirements for the degree of Masters of Fine Art at Massey University, Wellington, New Zealand
    (Massey University, 2018) Carleton, Chora Luz
    This exegesis attends to the conceptual and practical enquiries adjoining the perceptual and phenomenological concerns of colour, space, moment, language and light. By dwelling in the interface of experience as a spatial, temporal, sensory experience, my creative practice aims to create a dialogue between the intuitive knowing of sensation and the constructions of these qualities as descriptions within the language of watercolour painting and the language of the written word. In this exchange of ideas, my practical methodology moves between using material in two dimensions to render a description, rendering the space as a moment of its own description, and pulling forth the intangible description of language into describing itself within space. Enacting a moment held in reflection by a simple shift in tense. The possibilities of colour, materiality, language, duration, dimension and tense unveil through affordances how these elements might come forth to a viewer to attending to a live exchange of phenomenal occurrences.
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    Framing traces : exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2018) Sharples, Monique
    Framing Traces explores the way in which the physical object of the picture frame, in combination with site, becomes an object through which an individual could experience the past. This is achieved by playing with the relationship and balance between presence and absence. Visual cues from site, geographical location and the picture frame itself form conditions for viewer reflections. These are what make up the conditions of engagement. As the viewer selects, analyses and categorises aspects of these cues in the context of their own experiences, biases and emotions they are able to attach an idiomatic meaning to the picture frame. Through the writing component, the analysis of picture frames is located within a material culture framework. The personal and cultural layering within one's own interpretation and the coexistence of the two alongside place creation is considered in the authorship of the work.