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The Beach As an Erogenous Zone

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The Beach As an Erogenous Zone The Beach as an Erogenous Zone: Figuring through Painting School of Design and Art Department of Art The Beach as an Erogenous Zone: Figuring through Painting Richard Phillip Coldicutt This thesis is presented for the Degree of Doctor of Philosophy of Curtin University December 2014 Richard Phillip Coldicutt Declaration I To the best of my knowledge and belief this thesis contains no material previously published by any other person except where due acknowledgment has been made. This thesis contains no material which has been accepted for the award of any other degree or diploma in any university. Signature: …………………………………………. Date: ………………………... Richard Phillip Coldicutt Abstract III Abstract The feeling of tranquillity and freedom, so often associated with the zone that lies between dunes and breakers, belies vast complexities and subjectivities that regulate the littoral. The beach is a liminal place both physically and socially, a landscape of hypersensitivity existing in flux with an endlessly shifting environment …an erogenous zone. A previous postgraduate research project entitled ‘The Loaded Image’ (Coldicutt 2000) exposed the complexities associated with the politics of the body specifically in regards to the production and exhibition of explicit or erotic visual representations. In addition I revealed a number of links in the way in which the landscape, like the body, is both represented and socially constructed. This current research project acknowledges this relationship between the body and landscape and recognises ‘in broad anthropological terms how social realities and identities are borne out of relations between human beings and their natural environment’ (Frankland 2008, 94). In this context, one reading of water and the natural environment of the beach is that it may be considered as an important site for enculturation and provide a sanctified public space for liberated expressions of sexuality and pleasure: operating as a stage. In order to present the performative aspect of the beach as a stage on which social relations are enacted, this exegesis assumes the structure of a play where chapters become Acts played out across a series of Scenes. ‘The beach’ within the focus of this performance does not refer to a remotely located, unpopulated ‘natural’ coastline; it is defined predominantly as a complex cultured space, a zone usually connected to urban living. Act I: The Urban Beach, is staged on a stretch of Western Australian coast that begins at the iconic Cottesloe Beach. Act II: The Generic Beach Fantasy explores the mythology of the beach and the construction and consequences of ‘tropical island paradise’ fantasies. In Act III: The Studio, the ideas and discoveries from the research are figured through the phenomenology of painting. Act IV: The Show /no show, describes the visual research produced in support of The Beach as an Erogenous Zone: Figuring through Painting and how this was intended to be exhibited at the John Curtin Gallery Post Graduate show SoDA 2014 (School of Design and Art). In its final manifestation, the exegetical performance culminates in an Act performed by brush and pigment over a collection of eighty oil paintings. These works entitled Casting the Net (Coldicutt 2012–2014), employ the traditions of a time-tested medium to respond to contemporary pixelated imagery endlessly performed as digital fantasies across the internet. Richard Phillip Coldicutt Table of Contents V Abstract ............................................................................................................................................................... III Act I ....................................................................................................................................................................... 007 List of Illustrations .......................................................................................................................................... VI Scene I ......................................................................................................... 008 Acknowledgements ...................................................................................................................................... IX Scene II ........................................................................................................ 045 Prologue Act II...................................................................................................................................................................... 052 Introduction ...................................................................................................................................................... XI Prologue ...................................................................................................... 056 The Criticalities of this Arts Practice-by-Research. ...................................................................... 001 Tableau: Setting the Scene ............................................................... 059 Structure and Methodology ...................................................................................................................... 002 Theoretical Frame .......................................................................................................................................... 003 Scene I ......................................................................................................... 068 Tableau ................................................................................................................................................................ 005 Scene II ........................................................................................................ 084 Act III .................................................................................................................................................................... 094 Scene I ......................................................................................................... 095 Caught in the Act: Pigment of the Imagination ....................... 100 Techno-tools ............................................................................................ 114 Scene II ........................................................................................................ 121 Act IV .................................................................................................................................................................... 128 The Show/no show ................................................................................ 128 Denouement .................................................................................................................................................... 131 Epilogue ............................................................................................................................................................... 132 Reference List .................................................................................................................................................. 142 IV The Beach as an Erogenous Zone: Figuring through Painting Richard Phillip Coldicutt List of Illustrations VII Figure 1 Page 006 Richard Coldicutt, William the Water Baby, 1992, photograph, 100mm x 150mm. Figure 17 Page 040 John Singer-Sargent, Boy on the Beach/The Sun Bath, 1878, oil on panel, 19 x 29.8 cm. Collection of the artist. In Ormond, R and Kilmurry, E. 2006. John Singer Sargent: Figures and Landscapes 1874 Figure 2 Page 008 Richard Coldicutt, Casting the Net (detail), 2012–2014, oil on panel, 298mm x 450mm. 1882, New Haven: Yale University, p. 152. Collection of the artist. Figure 18 Page 041 Richard Coldicutt, Casting the Net (detail), 2013, oil on panel, 298mm x 450mm. Figure 3 Page 009 Richard Coldicutt, Casting the Net (detail), 2012–2014, oil on panel, 298mm x 450mm. Collection of the artist. Collection of the artist. Figure 19 Page 044 Richard Coldicutt, Casting the Net (detail), 2014, oil on panel, 298mm x 450mm. Figure 4 Page 013 Richard Coldicutt, Casting the Net (detail), 2012–2014, oil on panel, 298mm x 450mm. Collection of the artist. Collection of the artist. Figure 20 Page 046 Richard Coldicutt, Casting the Net (detail), 2014, oil on panel, 298mm x 450mm. Figure 5 Page 015 Richard Coldicutt, Casting the Net (detail), 2012–2014, oil on panel, 298mm x 450mm. Collection of the artist. Collection of the artist. Figure 21 Page 048 Richard Coldicutt, Casting the Net (detail), 2014, oil on panel, 298mm x 450mm. Figure 6 Page 017 Richard Coldicutt, Casting the Net (detail), 2012–2014, oil on panel, 298mm x 450mm. Collection of the artist. Collection of the artist. Figure 22 Page 048 Richard Coldicutt, ‘SAS signage at Swanbourne Beach’, 2013, digital photograph, Figure 7 Page 025 Richard Coldicutt, Casting the Net (detail), 2012–2014, oil on panel, 298mm x 450mm. 100mm x 150mm. Collection of the artist. Figure 23 Page 050 Richard Coldicutt, Casting the Net (detail), 2012, oil on panel, 298mm x 450mm. Figure 8 Page 026 Richard Coldicutt, Casting the Net (detail), 2012–2014, oil on panel, 298mm x 450mm. Collection of the artist. Collection of the artist. Figure 24 Page 050 Richard Coldicutt, Casting the Net (detail), 2012, oil on panel, 298mm x 450mm. Figure 9 Page 026 Richard Coldicutt, Casting the Net (detail), 2012–2014, oil on panel, 298mm x 450mm. Collection of the artist. Collection of the artist. Figure 25 Page 050 Richard Coldicutt, Casting the Net (detail), 2012,
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