The painting and beyond: Mobility of the pictorial imagery (R-5897)

This study explicitly explores the emerging fault lines between formerly sharply demarcated disciplines. With painting as a starting point, the visual language of this classic medium is considered to be a causer of contemporary interdisciplinary movement between, among others, painting, installation art, photography, digital art, light art and architecture. Alex Coles, art and design critic and professor of Transdisciplinary Studies, puts the connection like this: 'Artists and designers are now defined not by their discipline but by the fluidity with which their practices move between the fields of architecture, art, and design.' In the artistic practice that is part of this research, this is reflected by an abstract visual language in which painting, object, installation, scanning and photo are regarded as design tools. As such, they never exist solely on themselves. Thy are a part of the process of thinking and creating and they only constitute a work in combination with another painting, scan or photo. This originates a spatial research regarding the essence of painting, where the painted surface is deconstructed, and its pictorial elements and structures provide the basis for a visual language that deals with both old-fashioned themes such as point, line, surface, time and space but which also includes contemporary concepts such as gradient, mobility and degrounding. This constellation creates an interaction between the verifiable and the incomprehensible, between not knowing, knowing wildly and wanting to know. This is reflected in a theoretical part in which our way of thinking and looking doesn't occur in either one or the other dimension but in a way that our different ways of seeing, experiencing and knowing are constantly changing and influencing each other.

Keywords:abstract visual language, painting, pictorial, spatial, transdisciplinary, Visual Codes

Disciplines:Visual arts