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Beyond Linearity : Contemporary Drawing and the Naturalistic Representation of Experience

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Beyond Linearity : Contemporary Drawing and the Naturalistic Representation of Experience Beyond Linearity: Contemporary Drawing and the Naturalistic Representation of Experience By Martin Walch Bachelor of Fine Arts, Tasmanian School of Art, University of Tasmania. Bachelor of Fine Arts (Honours), Tasmanian School of Art, University of Tasmania. Master of Fine Arts (Research), Tasmanian School of Art, University of Tasmania. Submitted in fulfillment of the requirements for the Degree of Doctor of Philosophy. University of Tasmania. June, 2009. Statement of originality: This thesis contains no material that has been accepted for a degree or diploma by the University or any other institution. To the best of my knowledge and belief, it incorporates no material previously published or written by another person except where due acknowledgment is made in the text. Martin Walch ~/,;;;tt /f. 0I, 'Zf;Of ii Statement of authority of access to copying: This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Martin Walch f/CJrf :_, /v~lc A /(. 0,, 'Zo°f iii Abstract: This research project sets out to demonstrate that a contemporary application of systematic drawing principles to the representation of natural environments could extend beyond the linear conventions upon which these principles are founded, and thereby produce dynamic and expressive interpretations of human and non-human systems. The project was pursued through an exploration of themes central to representation of natural environments. These include; the technologies of mapping systems; the construction of temporal and spatial frameworks; the aesthetics of natural environments; and concepts related to locality and placement. Research methods included the reconstruction of optical devices, the undertaking of extensive field trips, and the learning of new computer languages. The background to the project is located in: the history of geometry and the concept of the visual ray as first posited by Aristotle; the writings and research of Patrick Maynard, who analysed the role of drawing in the construction of the modern technological world; Manuel DeLanda's writings on Gilles Deleuze, and his concepts of the manifold, intensive science, and virtual philosophy; the alternative mapping strategies proposed by John Pickle; and the writings of Arnold Berleant who discussed the aesthetics of natural environments. These concepts are drawn out contextually in the exegesis through reference to visual artists involved in (re-)mapping their environments; including Hamish Fulton and John Wolslely in relation to representation of direct experience of being in the land; Bea Maddock's inverted geometric projection of Tasmania; Mark Lombardi's visualisation of networks; and Daniel Crooks's temporal re-mapping experiments. The outcome of the research 1s a body of five artworks; Origin 2004-2008 [constant change), Range 2006 [strange attractor), Sticks and Stones, Drowning by Numbers and Source. These works were created in response to an analysis of conventional mapping systems, and the limitations of their geometric and optical drawing methodologies in visualising natural environments. The works in the thesis exhibition use various strategies, based on the application of alternative mapping methodologies, which engage the viewer in new temporal and spatial networks, and thus challenge perceptions of what it is that constitutes experience of environment. iv Acknowledgments: This research project relied on the help, support, advice and technical expertise of a number of individuals. I would like to thank Emeritus Professor Geoff Parr for his advice during my early candidature, Dr David Stephenson for his supervision and guidance throughout the project, and Professor Noel Frankham for input during the final phase. Dr Bill Hart deserves special thanks for his generous technical advice and detailed feedback on my project and my writing, as well as his loan of LCD screens for my exhibition. Thanks also to Tony Brown (Curator of Indigenous Cultures - Tasmanian Museum and Art Gallery), Greg Lehman (Director of Aboriginal Education - Department of Education Tasmania), and Dr Julie Gough (Curator oflndigenous Art- visiting Tasmanian Museum and Art Gallery), for their support and advice in relation to Tasmanian Aboriginal cultural heritage and its representation. Dr Kim Ackerman (Dr of Anthropology and Archaeology) generously advised me on questions related to field archaeology, and the manufacture of stone tools. Thanks also to Tony Naughton (Secretary of the Nomenclature Board of Tasmania), for access to the Nomenclature Database of Tasmania. I must also acknowledge the assistance of friends who have accompanied me on field trips during this project. Ben Booth, Erin Tappe, Frank Harris, Greg Lehman, Adam Lucas, Simon Cuthbert, Oliver Lawler and Sophia Newman have all contributed individually to my personal enjoyment of these ventures, and therefore to the success of my art making process. My colleagues at The Tasmanian School of Art have also given me invaluable assistance. Thanks to Professor Jonathan Holmes, Paul Zika, Maria Kunda, Brigita Ozolins, Lee Hobba, Raef Sawford and Aaron Horsely. Finally, I am deeply grateful to my parents, Brian and Janne Walch, my sister Megan Walch, and my brother-in-law Jeremy Parker. I cannot imagine having undertaken a project of such magnitude without their support. v Contents: Statement of originality: ............................................................................................................................... ii Statement of authority of access to copying: ...................................................................................... iii Abstract: .............................................................................................................................................................. iv Acknowledgments: ........................................................................................................................................... v Overview: ............................................................................................................................................................. 1 Background to the Project: .......................................................................................................................... 1 Chapter 1: Lines of Sight from Signs of Light: ...................................................................................... 5 Ancient Eyes: ...................................................................................................................................................... 6 Measuring the Earth:...................................................................................................................................... 7 New Perspectives: ......................................................................................................................................... 11 The Post-Cartesian Universe: ................................................................................................................... 13 Chapter 2: The Aesthetic Terrain: ........................................................................................................... 18 Background: The Colonial Context: ....................................................................................................... 18 The Aesthetics ofNatural Environments: ........................................................................................... 23 Indigenous Country: ..................................................................................................................................... 30 Locality: ............................................................................................................................................................. 3 7 Re-presenting Spacetime: .......................................................................................................................... 44 The Computational Beauty of Nature: ................................................................................................. 49 Chapter 3: Project Development: ............................................................................................................ 52 Origin 2004 - 2008: ...................................................................................................................................... 53 Range 2006:..................................................................................................................................................... 58 Sticks and Stones: .......................................................................................................................................... 65 Drowning by Numbers: ............................................................................................................................... 70 Source:................................................................................................................................................................ 77 Chapter 4: Conclusions: ............................................................................................................................... 81 Appendix A: List of Submitted Work: ............................... '..................................................................... 83 Appendix B: Technical and Field Notes: ............................................................................................... 84 Phase 1: Drawing in Space:......................................................................................................................
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