{"id":{"repo_id":"uwtsd","oai_identifier":"oai:repository.uwtsd.ac.uk:2080"},"canonical_url":"https://search.dev.ndltd.org/etd/uwtsd/oai:repository.uwtsd.ac.uk:2080","repository":{"repo_id":"uwtsd","name":"University of Wales Trinity Saint David","base_url":"https://repository.uwtsd.ac.uk/cgi/oai2"},"display":{"title":"Interfacing the screenic and painted surface: an artistic research project asking what can painting and drawing practice reveal of the contemporary practices and perceptions of touchscreen technology","abstract":"Touchscreens form an increasingly prevalent part of daily life. They are often the primary mode of interaction with smartphones, tablets and devices in the public realm, yet the experiential aspect of navigating these devices has received relatively little attention. This study forms an enquiry into the contemporary practices and perceptions of touchscreen technology from the disciplinary context of painting and drawing. A period of studio practice was undertaken in which touchscreens were placed under consideration as a recurring subject matter, with artistic research constituting the main method of enquiry. Touchscreen gestures were a particular focus in the studio practice, drawing on the work of theorist Vilém Flusser on gestures. Original outcomes in the form of artworks include 1) 'Touch' (2021), consisting of oil on gesso paintings based on a day of observed smartphone use, for which fingerprint marks left on a smartphone screen were emulated using oil paint, and, 2) 'Trace' (2019), a series of metalpoint drawings depicting cracked screens made using gold, silver, aluminium, nickel and copper, these metals being both historical drawing materials and those used as smartphone components. The studio process offered a position from which to revisit established ideas in painting and drawing and apply them to the contemporary context of touchscreens.","abstract_html":"Touchscreens form an increasingly prevalent part of daily life. They are often the primary mode of interaction with smartphones, tablets and devices in the public realm, yet the experiential aspect of navigating these devices has received relatively little attention. This study forms an enquiry into the contemporary practices and perceptions of touchscreen technology from the disciplinary context of painting and drawing. A period of studio practice was undertaken in which touchscreens were placed under consideration as a recurring subject matter, with artistic research constituting the main method of enquiry. Touchscreen gestures were a particular focus in the studio practice, drawing on the work of theorist Vilém Flusser on gestures. Original outcomes in the form of artworks include 1) 'Touch' (2021), consisting of oil on gesso paintings based on a day of observed smartphone use, for which fingerprint marks left on a smartphone screen were emulated using oil paint, and, 2) 'Trace' (2019), a series of metalpoint drawings depicting cracked screens made using gold, silver, aluminium, nickel and copper, these metals being both historical drawing materials and those used as smartphone components. 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