Victorian College of the Arts

This study closely observes, articulates, and expressively renders the intrapersonal dimensions of an artistic practice and the capacity and means by which a practice can reveal itself and meaningfully render the lifeworld and the artist in multimodal form. The methods are those of a primary source heuristic study attending to the experiential interplay and multimodality of an artistic practice and its changing states of assemblage. The practices and performative actions are undertaken and recorded in a wide range of settings. These include walks in suburban streets and parks and in rural forests, spoken annotations amidst everyday life, and occasional assemblages of materials self-witnessed or presented to one or two others. The collected raw data includes sketches, diagrams and drawings, poetic responses, vocal soundings, piano and multi-track audio recordings, photographs, and bodily-recorded movement gestures. A performative assemblage of selected materials was presented to a small audience in December 2018. It included the live performer placed in a range of multi-layered constructions, automated lighting effects, and objects present in the research and emerging performative canvas. The combined outputs of the study comprising the live performance and contextualising writings suggest that artistic practice can be a series of imaginal and physical actions and experiences that occur beyond and without, as well as through more formal studio or instrument-based activity and that an artist can be concurrently forming themselves as a poetic subject in the process of creating an artwork for meaningful reception.

This research has taken a practice-led form. The questions and issues are those arising in and through the practice of an artist working in live performance and were formed in and through personal, practical experience. The researching artist has undertaken a period of time- approximately two years- during which heuristic and creative data has been allowed to ascribe itself on various media and on the artist’s attending perceptions and responses. Seemingly disparate drawings, vocal and physical scores, text fragments and audio atmospheres were assembled and presented as a live creative work. The thesis presents an exegetical overview of the practices engaged and investigates the pathways common to arising and intentionality; their capacity to affirm and deny in the receiving artist’s experience and their capacity to conjoin the self with their intentions to abreact synergistic phenomena involved in the formation of imagined and actual poetic sites for their realisation.

Victorian College of the Arts - Theses

Permanent URI for this collection

Filters

Date

Author

Subject

Type

Settings

Sort By

Results per page

Statistics

Citations

Search Results