{"id":{"repo_id":"de-montfort","oai_identifier":"oai:dora.dmu.ac.uk:2086/25625"},"canonical_url":"https://search.dev.ndltd.org/etd/de-montfort/oai:dora.dmu.ac.uk:2086/25625","repository":{"repo_id":"de-montfort","name":"De Montfort University","base_url":"https://dora.dmu.ac.uk/server/oai/request"},"display":{"title":"A CREATIVE AND PRACTICE BASED INVESTIGATION INTO THE POSSIBILITIES FOR CONTEMPORARY DRAWING AND PAINTING, WHICH IS INFORMED BY PERCEPTUAL EXPERIENCES OF THE NATURAL WORLD","abstract":"The body of work exhibited and the accompanying text are the result of a practice-based enquiry into the possibilities for drawing and painting which is informed by perceptual experiences of the natural world. An action-research method was adopted as the appropriate method of research because it is process orientated and brings together theory, research and practice. It is a method of enquiry that requires reflection, interpretation, and responsiveness for changes and progression to occur. Improvisation and intuition are methodologies that play a central role within the process. Research began in the studio with painting activity but a depictive element within the paintings created a problem. In order to resolve this, research continued, for several months, through drawing. Three main series of drawings were produced. Reflection and evaluation upon these drawings made the transfer of ideas into painting possible. 'Two areas of research to impact on practice were fieldwork (in the English Lake District) and research into the paintings of Titian (at the National Gallery). Drawings were made during fieldwork, in response to the sights, sounds and sensations of natural phenomena. The physical engagement; the perceptions and sensations of the experience, informed the process of creative activity through the act of making. This activity, together with the observations and perceptions of original artworks stimulated innovative ideas and an intense painting practice. The complex processes of thinking, reflection and decision-making, within practice, were documented in my reflective journals, revealing the cyclical methodologies, tacit knowledge and insights. Several series of paintings were produced. Phenomenology was identified as being relevant to the research, and the writings of Maurice Merleau-Ponty have informed my understanding of perception. My research was synthesised and contrasted with the works of other contemporary artists, in the field, in forming an individual position and in making an original contribution to knowledge. The document together with the artworks illuminates the research process and the development of practice.","abstract_html":"The body of work exhibited and the accompanying text are the result of a practice-based enquiry into the possibilities for drawing and painting which is informed by perceptual experiences of the natural world. An action-research method was adopted as the appropriate method of research because it is process orientated and brings together theory, research and practice. It is a method of enquiry that requires reflection, interpretation, and responsiveness for changes and progression to occur. Improvisation and intuition are methodologies that play a central role within the process. Research began in the studio with painting activity but a depictive element within the paintings created a problem. In order to resolve this, research continued, for several months, through drawing. Three main series of drawings were produced. Reflection and evaluation upon these drawings made the transfer of ideas into painting possible. 'Two areas of research to impact on practice were fieldwork (in the English Lake District) and research into the paintings of Titian (at the National Gallery). Drawings were made during fieldwork, in response to the sights, sounds and sensations of natural phenomena. The physical engagement; the perceptions and sensations of the experience, informed the process of creative activity through the act of making. This activity, together with the observations and perceptions of original artworks stimulated innovative ideas and an intense painting practice. The complex processes of thinking, reflection and decision-making, within practice, were documented in my reflective journals, revealing the cyclical methodologies, tacit knowledge and insights. Several series of paintings were produced. Phenomenology was identified as being relevant to the research, and the writings of Maurice Merleau-Ponty have informed my understanding of perception. My research was synthesised and contrasted with the works of other contemporary artists, in the field, in forming an individual position and in making an original contribution to knowledge. 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