School of Art - Theses

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Subject: painting × Subject: digital ×

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    Each copy may perish individually
    Bradley, Ry David ( 2013)
    Today when the digital image is but an instance existing in multiple versions, the aim in this paper is to investigate how each instance may differentiate. In the research that follows it is suggested that it may not be possible to fully gauge the implications of a digital image at the moment of its production or through the sharing of its popularity in transmission – this may in fact only emerge some time later. This measure may be introduced as a material durability, yet a central issue arises in that it is only by assumption that this can be known, given that the digital age is relatively recent. In the absence of any substantial digital history, we can only postulate what digital duration may be. It is to this end that my work and research is focused. The final body of creative work in the graduate exhibition has been produced in a manner that oscillates from screen to print and back again, across a range of objects using artistic and commercial services. A digital painting is printed in multiple outcomes, stratified across a host of surfaces and sites. It is with humor that a game situation is invoked, where each instance must silently compete against the others through time. The game is not just about which one lasts longest, but most beautifully, faithfully, or poorly. A website has been established to document the digitized versions of the work. It is hoped that this exhibition may go some way to exploring the ways in which an image belongs to a network.
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    Painting in a digital landscape
    Staniak, Michael ( 2011)
    This thesis, titled Painting in a Digital Landscape, encompasses research conducted in 2010 and 2011 in the Victorian College of the Arts Masters of Fine Arts Course. The research explores the ways in which the form, process and materials of painting have been affected by new digital media screen technology, particularly through the Internet. The studio practice is based mostly around painting that floats between abstraction and realism. There is also an element of the studio practice that is focuses on the use of digital technology and experimentation with digital print encompassing immersive installation. This serves to amalgamate the virtual experience of digital technology with the tangible experience of walking into an actual gallery space. The supporting exegesis looks at the artists, processes and concepts that influence the studio practice, and follows the history of changes in technology and consequent changes of certain periods in painting.