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The Oneiric Veil in Contemporary Australian Art Kelly Devrome

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The Oneiric Veil in Contemporary Australian Art Kelly Devrome The Oneiric Veil in Contemporary Australian Art hilm (Dream) Kelly Devrome Bachelor of Visual Art (Fine Art) Diploma of Education (Secondary) Master of Arts (Research) This exegesis is submitted in partial fulfilment of the requirements for the degree Doctor of Philosophy University of Ballarat P.O Box 663 University Drive, Mount Helen Ballarat, Victoria 3353 Australia Submitted, June 2011 The Oneiric Veil in Contemporary Australian Art researches the use of the veil in modernist art and its generative capacity to visually evoke an oneiric space. The oneiric veil is a lens through which current conceptual approaches and practices in contemporary visual art can be understood. More precisely, the oneiric veil delineates an intermediary space present in current visual culture. Therefore, the research surveys the veil sign and applications of it employed by artists from an extended historical period to demonstrate connections that link the veil to the oneiric through traditional practice and theoretical concerns. As a painter and drawer, I use the modernist veil, including the grid and shadow, to evoke a field and convey a multiplicity of meaning pertaining to site-specificity. The veil functions to create a filtered and intermediary effect characteristic of the physicality of a site-specific space. I examine the modernist veil with regard to the veiling applications used in painting to produce a metaphysical space whereby the formal uses of binary oppositions have been explicitly fore-grounded. To demonstrate how the veil produces multiplicity, I examine how the modernist veil generates the presence of an oneiric space and links to poststructuralist theory. This conceptual underpinning of the oneiric, and its link to the modernist framework, will contribute a new interpretive frame to the visual space of contemporary art today. Exploration of the oneiric veil develops historic and metaphoric vantage points for the context of my studio practice. In abstract art, the veil often evokes a certain occurrence that delineates space in fragmented form. Subtle meditations on the aesthetic effects of the veil in the act of painting reveal an in-between space that I believe is an oneirically veiled space. To contextualise this thesis, a study of contemporary art in Australia will demonstrate conceptual ties to the modernist veil through the presence of the architectonic, mystical, and metaphysical. Artists include Hillarie Mais, Simryn Gill, Imants Tillers, Hossein Valamanesh, Philip Hunter, Geoff Levitus, Jon Cattapan, Stephen Haley, Dale Hickey, and Ian Friend, among others. ii Statement of Authorship Except where explicit reference is made in the text of the thesis, this thesis contains no material published elsewhere or extracted in whole or in part from a thesis by which I have qualified for or been awarded another degree or diploma. No other person’s work has been relied upon or used without due acknowledgement in the main text and the bibliography of the thesis. Signed Candidate Date Kelly Devrome Principal Supervisor Date Dr Jennifer Jones-O’Neill iii Acknowledgment As a recipient of the Australian Post Graduate Award, I wish to acknowledge the generous support provided me by the University of Ballarat, Victoria Australia. I would especially like to thank my supervisors, Dr Jennifer Jones-O’Neill and Jillian Orr, for their invaluable contributions and acknowledge Associate Professor Allan Mann and Professor Jim Sillitoe for facilitating a rewarding research program. Anne Saunders, Doug Wright, Dr Loris Button, and all research staff deserve many thanks for their advice and assistance over the course of the research. I extend my appreciation and gratitude to the Australian Embassy, Kuwait, for their auspices. Finally, I would like to thank Sarah Norton and my husband Dany. iv CONTENTS Abstract .........................................................................................................................................ii Statement of Authorship ................................................................................................................iii Acknowledgements .......................................................................................................................iv Table of Contents .........................................................................................................................v Illustrations ...................................................................................................................................vi Preamble ........................................................................................................................................x INTRODUCTION .........................................................................................................................14 Chapter 1. THE PRIMACY OF THE VEIL..................................................................................26 Modernist Frames ..........................................................................................................................28 Through the Veil..........................................................................................................33 Projected Shadows.......................................................................................................35 Language Forms .........................................................................................................39 Alberti’s Window ........................................................................................................42 Beyond the Screen .......................................................................................................46 Chapter 2. DREAM SPACE AND THE MODERNIST VEIL .....................................................48 Hidden Spaces..............................................................................................................51 Objective Chance.........................................................................................................53 The Compositional Veil...............................................................................................59 Generative Spaces........................................................................................................69 Transcription of the Surface.........................................................................................71 Chapter 3. CONTEMPORARY PROJECTIONS OF SITE AND SPACE ..................................72 Spaces outside the Surface...........................................................................................75 Shadow Structures .......................................................................................................76 Of Other Spaces ...........................................................................................................83 City-Space....................................................................................................................87 Hidden Space of the Veil .............................................................................................93 Site-Specificity and Transitional Forms .....................................................................95 Chapter 4. METHODOLOLY: SPACE AND TIME INSPIRED .................................................97 Mapping Place .............................................................................................................99 Transparency................................................................................................................100 Trajectory and Aura .....................................................................................................102 The Indomitable Elements ...........................................................................................105 Material Applications ..................................................................................................107 Palimpsest ....................................................................................................................108 Veiling Space...............................................................................................................108 CONCLUSION..............................................................................................................................117 APPENDICES ...............................................................................................................................124 BIBLIOGRAPHY..........................................................................................................................131 v Illustrations Figures 1 Kelly Devrome, Mesh-Covered Building, Kuwait, 2008, photograph, 10 xi x 15 cm. Private collection, Melbourne. 2 Dar Al Funoon, Reveal, Disclose, Kuwait, 2010, exhibition invitation. xiii 3 Simryn Gill, My Own Private Angkor, 2007, gelatin silver photograph, 22 39 x 38 cm. Private collection. Reprinted from Russell Storer, Jessica Morgan, and Michael Taussig, Simryn Gill, ed. Russell Storer (Köln: Verlag der Buchhandlung, 2008), 9. 4 Peter Blake, Transmigration, 1958, enamel on hardboard, 128.2 x 96.3 23 cm. Private collection. Reprinted from Doug Evens, Christopher Heathcote, Philip Jones, and Alex Selenitsch, A Hand Passing through Art & Architecture: Peter Burns (Bulleen, VIC: Heide Museum of Modern Art, 2004), 21. 5 Robert Owen, Spectrum Analysis # 4, 2003–04, synthetic polymer paint 30 on linen, 195 x 195 cm. Private collection. Reprinted from Arc One Gallery, Melbourne. http://arcone.com.au/pageContent.php?page=Artwork_Detail&aid=&eid
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