Virtual Nature: A practice-led enquiry into the relationship between painting and vernacular photography through the process of the painted monotype
type: CreativeWork
description: My practice-led research explores the relationship between painting and vernacular photography through the process of painted monotypes. This project has developed from an ongoing fascination with the visual qualities of photography and what happens when you translate photographs into other material forms, such as painting. The aim of this project is to develop images that interrogate how painted monotypes provide a distinctive interpretation of embodied experience through their visual, material and sensory qualities. Today, like no other time in history, photography is embedded in our daily lives through hand-held devices and the interface of the digital screen. My research examines how this embedded experience of the photographic relates to the processes and visual qualities of the painted monotype. The project is focused on three primary locations as subject matter: the aquarium, the botanical glasshouse and the habitat diorama. Through my research I explore how these sites function in optically and conceptually similar ways to the world of images, through shared notions of virtuality and indexicality. This research is informed by the work of Édouard Vuillard, Mamma Andersson, Peter Doig, David Hockney and the landscapes of Gustav Klimt. These painters interrogate the territory between painting and lens-based images in very specific ways, relating to visual perception, embodied vision, figure and ground relationships, and visual textures. In a theoretical context, my examination of the relationship between painting and photography has been motivated by the writings of Elizabeth Wynne Easton, Aaron Scharf, John Berger and Russell Ferguson; while Anne Friedberg, Rob Shields, Nicholas Mirzoeff, Geoffrey Batchen, Kris Paulsen and Johanna Love have been instrumental in determining a connection to the virtual and the index in my research.
abstract: My practice-led research explores the relationship between painting and vernacular photography through the process of painted monotypes. This project has developed from an ongoing fascination with the visual qualities of photography and what happens when you translate photographs into other material forms, such as painting. The aim of this project is to develop images that interrogate how painted monotypes provide a distinctive interpretation of embodied experience through their visual, material and sensory qualities. Today, like no other time in history, photography is embedded in our daily lives through hand-held devices and the interface of the digital screen. My research examines how this embedded experience of the photographic relates to the processes and visual qualities of the painted monotype. The project is focused on three primary locations as subject matter: the aquarium, the botanical glasshouse and the habitat diorama. Through my research I explore how these sites function in optically and conceptually similar ways to the world of images, through shared notions of virtuality and indexicality. This research is informed by the work of Édouard Vuillard, Mamma Andersson, Peter Doig, David Hockney and the landscapes of Gustav Klimt. These painters interrogate the territory between painting and lens-based images in very specific ways, relating to visual perception, embodied vision, figure and ground relationships, and visual textures. In a theoretical context, my examination of the relationship between painting and photography has been motivated by the writings of Elizabeth Wynne Easton, Aaron Scharf, John Berger and Russell Ferguson; while Anne Friedberg, Rob Shields, Nicholas Mirzoeff, Geoffrey Batchen, Kris Paulsen and Johanna Love have been instrumental in determining a connection to the virtual and the index in my research.
author: Bullen, Leah Louise
language: en_AU
keywords: Painting, contemporary painting, contemporary visual culture, monotype, watercolour, watercolor, gouache, vernacular photography, snapshot photography, painting and photography, visual perception, embodied vision, 19th Century photography, 19th Century visual culture, transhistoricity, virtuality, figure and ground relationships, false attachments, collage
date published: 2018
date modified: 2026-07-24T01:07:38Z
provider: Australian Catholic University
publisher: Networked Digital Library of Theses and Dissertations
type: WebPage
source organization: Australian Catholic University

PropertyValue
property ID: Handle
value: http://hdl.handle.net/1885/157027