{"id":{"repo_id":"cape-town","oai_identifier":"oai:open.uct.ac.za:11427/13995"},"canonical_url":"https://search.dev.ndltd.org/etd/cape-town/oai:open.uct.ac.za:11427/13995","repository":{"repo_id":"cape-town","name":"University of Cape Town","base_url":"https://open.uct.ac.za/oai/request"},"display":{"title":"An irreal realm: painting as a means of reflecting on oneirism","abstract":"My interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project, namely the formal values I exploited, the quotidian subject matter I favoured, and the sense of contemplation I wished to convey. The correlations I perceived between my concerns and oneirism became more emphatic as my research progressed. The more I read about oneirism, the more I became aware of how the concept could be translated into painted form, a process which in turn inspired my practice. This document serves as a means to reflect on something of this complementary process. Within this framework, my discussion of theories related to oneirism is presented to amplify my painting practice. As a reflection on oneirism, the body of work submitted for my MFA comprised paintings in ink and oil. Many pieces were based on snapshots of views and objects in my surroundings. I often cropped the photographs to focus on a single object or a minor detail of a view. My approach was figurative, although it verged on abstraction depending on the source imagery I selected. I used a close-value palette that was dominated by chromatic greys. The structure of my paintings is quite simple in formal terms and my work is generally small in scale. I used these features and selected my subject matter to parallel theories about the oneiric zone that I discovered in my research. In terms of my aims in this project, and the media and approach I used in my practice, the figurative paintings of Italian artist Giorgio Morandi (1890-1964) and contemporary Belgian painter Luc Tuymans (b. 1958) were most compelling. I responded to their muted palettes and, for me, their work shares a contemplative quality, despite differences in subject matter and approach. However, I was also intrigued by certain artists who used media other than paint to produce work that related to my concerns. I thus touch on the work of some of these artists, in addition to Tuymans and Morandi.","abstract_html":"My interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project, namely the formal values I exploited, the quotidian subject matter I favoured, and the sense of contemplation I wished to convey. The correlations I perceived between my concerns and oneirism became more emphatic as my research progressed. The more I read about oneirism, the more I became aware of how the concept could be translated into painted form, a process which in turn inspired my practice. This document serves as a means to reflect on something of this complementary process. Within this framework, my discussion of theories related to oneirism is presented to amplify my painting practice. As a reflection on oneirism, the body of work submitted for my MFA comprised paintings in ink and oil. Many pieces were based on snapshots of views and objects in my surroundings. I often cropped the photographs to focus on a single object or a minor detail of a view. My approach was figurative, although it verged on abstraction depending on the source imagery I selected. I used a close-value palette that was dominated by chromatic greys. The structure of my paintings is quite simple in formal terms and my work is generally small in scale. I used these features and selected my subject matter to parallel theories about the oneiric zone that I discovered in my research. In terms of my aims in this project, and the media and approach I used in my practice, the figurative paintings of Italian artist Giorgio Morandi (1890-1964) and contemporary Belgian painter Luc Tuymans (b. 1958) were most compelling. I responded to their muted palettes and, for me, their work shares a contemplative quality, despite differences in subject matter and approach. However, I was also intrigued by certain artists who used media other than paint to produce work that related to my concerns. I thus touch on the work of some of these artists, in addition to Tuymans and Morandi.","abstract_has_math":false,"creators":["Simons, Bridget Anne"],"institution":"Michaelis School of Fine Art","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Siopis, Penny"],"committee_chairs":[],"committee_members":[],"year":2013,"date_issued":"2013","date_published":"2013","updated_at":"2026-07-22T22:23:12Z","subjects":[],"languages":["eng"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/11427/13995","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Siopis, Penny"]},{"key":"dc:creator","label":"Author","values":["Simons, Bridget Anne"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2015-09-15T10:30:24Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2015-09-15T10:30:24Z"]},{"key":"dc:date.issued","label":"Date","values":["2013"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Michaelis School of Fine Art"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Cape Town"]},{"key":"dc:type","label":"Dc Type","values":["Master Thesis"]},{"key":"dc:type.qualificationlevel","label":"Dc Type Qualificationlevel","values":["Masters"]},{"key":"dc:type.qualificationname","label":"Dc Type Qualificationname","values":["MFA"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/11427/13995"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["My interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project, namely the formal values I exploited, the quotidian subject matter I favoured, and the sense of contemplation I wished to convey. The correlations I perceived between my concerns and oneirism became more emphatic as my research progressed. The more I read about oneirism, the more I became aware of how the concept could be translated into painted form, a process which in turn inspired my practice. This document serves as a means to reflect on something of this complementary process. Within this framework, my discussion of theories related to oneirism is presented to amplify my painting practice. As a reflection on oneirism, the body of work submitted for my MFA comprised paintings in ink and oil. Many pieces were based on snapshots of views and objects in my surroundings. I often cropped the photographs to focus on a single object or a minor detail of a view. My approach was figurative, although it verged on abstraction depending on the source imagery I selected. I used a close-value palette that was dominated by chromatic greys. The structure of my paintings is quite simple in formal terms and my work is generally small in scale. I used these features and selected my subject matter to parallel theories about the oneiric zone that I discovered in my research. In terms of my aims in this project, and the media and approach I used in my practice, the figurative paintings of Italian artist Giorgio Morandi (1890-1964) and contemporary Belgian painter Luc Tuymans (b. 1958) were most compelling. I responded to their muted palettes and, for me, their work shares a contemplative quality, despite differences in subject matter and approach. However, I was also intrigued by certain artists who used media other than paint to produce work that related to my concerns. I thus touch on the work of some of these artists, in addition to Tuymans and Morandi."]},{"key":"dc:title","label":"Title","values":["An irreal realm: painting as a means of reflecting on oneirism"]}]}],"canonical_facts":{"dc:contributor.advisor":["Siopis, Penny"],"dc:creator":["Simons, Bridget Anne"],"dc:date.accessioned":["2015-09-15T10:30:24Z"],"dc:date.available":["2015-09-15T10:30:24Z"],"dc:date.issued":["2013"],"dc:description.abstract":["My interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project, namely the formal values I exploited, the quotidian subject matter I favoured, and the sense of contemplation I wished to convey. The correlations I perceived between my concerns and oneirism became more emphatic as my research progressed. The more I read about oneirism, the more I became aware of how the concept could be translated into painted form, a process which in turn inspired my practice. This document serves as a means to reflect on something of this complementary process. Within this framework, my discussion of theories related to oneirism is presented to amplify my painting practice. As a reflection on oneirism, the body of work submitted for my MFA comprised paintings in ink and oil. Many pieces were based on snapshots of views and objects in my surroundings. I often cropped the photographs to focus on a single object or a minor detail of a view. My approach was figurative, although it verged on abstraction depending on the source imagery I selected. I used a close-value palette that was dominated by chromatic greys. The structure of my paintings is quite simple in formal terms and my work is generally small in scale. I used these features and selected my subject matter to parallel theories about the oneiric zone that I discovered in my research. In terms of my aims in this project, and the media and approach I used in my practice, the figurative paintings of Italian artist Giorgio Morandi (1890-1964) and contemporary Belgian painter Luc Tuymans (b. 1958) were most compelling. I responded to their muted palettes and, for me, their work shares a contemplative quality, despite differences in subject matter and approach. However, I was also intrigued by certain artists who used media other than paint to produce work that related to my concerns. 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