Plumb-- painting, somatics, and generosity : a thesis presented in partial fulfilment of the requirements for the Masters degree (Fine Arts) at Massey University, Wellington, New Zealand
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Date
2012
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Massey University
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Abstract
This exegesis explores the role of a “transverse” body in artistic practice, concentrating
specifically on painting as a common space or index that links the awareness of the artist and
the awareness of the viewer. The central premise of a bodily “transverse” quality draws from
the philosophy of phenomenology—in particular the writings of Merleau-Ponty and
Levinas—but also takes its cue from Dance practice and the writings and legacy of Antonin
Artaud. The ways in which we participate in social space through our bodies can be seen in
an articulate legacy of “visceral” art that surfaces throughout the history of figuration. This
visceral nature that art invokes or signifies has been observed in art that tackles (among other
things) traumatic experience and the ontology of the other. What can be seen as a
kinaesthetic mode of painting (and art in general) is invariably couched within cultural
contextual frameworks of the time.
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Keywords
Colin Luxton, Painting, Philosophy