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Installation Painting Red Oval, 2014 Frame with Red LED Acrylic Paint on Canvas, Yellow LED Installation Painting Prototype 500Mm X 500Mm Frame, Lighting, Electrics

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Installation Painting Red Oval, 2014 Frame with Red LED Acrylic Paint on Canvas, Yellow LED Installation Painting Prototype 500Mm X 500Mm Frame, Lighting, Electrics Painting with Light A practice-led exploration of contemporary painting and the illuminated frame DANIEL CROWE A thesis submitted in partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy November 2018 List of Contents Page Contents Abstract 04 Introduction 05 Literature Review 36 Methodology 85 Chapter 1 Picture Frame 1.1 Picture Frame as a Device for Contemporary Painting 91 Chapter 2 Light 2.1 Light 107 Chapter 3 Practice 3.1 Development of the Self-Illuminated Frame 119 3.2 The Self-Illuminated Frame, Acrylic Paint and Thermochromic Pigments 126 Chapter 4 Exhibition 4.1 Installation/Painting 139 Conclusio n 152 Afterword 161 Bibliography 164 Appendix 193 1. List of Illustrations 194 1.1 Illustrations: Initia l Colour, Frame and Light Experiments 197 1.2 Illustrations: Thermochromic Pigment Sample Experiments 2012-14 214 1.3 Illustrations: Self-illuminating Frame Paintings 235 1.4 Illustrations: Installation/Painting Exhibition 240 2. Technical Information 247 2.1 Light Emitting-diode (LED) 248 2.2 Paints and Primer 253 2.3 Smart Materials 254 2.4 Addresses 255 3. Installation/Painting Manifesto 257 4. Questionnaire Responses 262 5. Correspondence 287 6. Interviews and Future Possible Collaboration 289 2 Glossary of Terms 291 3 Abstract The rationale of Painting with Light is the development of a self-illuminating frame that explores the space between painting and wall-based art. The aims of Painting with Light are to: analyse the self-illuminated frame as a useful device for the paintings as wall-based sculpture, question its function as a frame within the gallery through the rejection of gallery lighting and to examine the usage of thermochromic pigments within contemporary painting. The following practice-led research offers a cumulative reading of contemporary theories and practices concerning the picture frame, painting, wall-based sculpture, light, the role of the spiritual in art and the gallery environment. Installation/Painting is the title given to the research exhibition that presented the artworks and associated manifesto. The research exhibition focused on gaining the spectators considerations of the relationship concerning the space between the paintings as wall-based sculpture due to the light radiating from the self-illuminating frames and the effect this had upon the audience in the gallery. It is an ambition of this research to re- address the spiritual in art and to question if the effect of light upon the spectator has spiritual connotations. Painting with Light uses both quantitative and qualitative methods of analysis to measure the change of experiential sensation within the audience when viewing the paintings. This information is collated from sources such as interviews and questionnaires taken from artists, gallerists and the audience. Within the production of Installation/Painting, studio practice investigated combinations of picture frames, surfaces, lighting, thermochromic pigments and acrylic paints in search of justification for the works of art to be viewed as a new technical and aesthetic development within contemporary painting. The thesis’ claim is that the combination of the new self-illuminating frame and use of thermochromic pigments create an original technical and aesthetic artwork for the spectator. Aside from the technical developments and investigation into light, the self-illuminating frame is shown to have a new and positive influence upon the audience experience. The illumina tio n of the galler y space supports this view with the light emitted from the LEDs inserted into the picture frame. The thesis’ investigation into the space between painting and wall-based sculpture has provided the platform for immersive environments to become innovative technical and aesthetic developments within contemporary art. Evidence taken from the research exhibition in the form of questionnaires and interviews found that the combination of the self-illuminating frames and thermochromic pigments had a beneficial effect upon the individual in terms of gallery experience. It is within this experience that Painting with Light aspires to re-address the spiritual in art in relation to the role of light in philosophy. The production of the artworks for this practice-led research has justified placing Painting with Light as a new objective within contemporary art. Key Words: Installation/Painting, self-illuminating frame, wall-based sculpture, spiritual, artist, gallery, audience. 4 Introduction This practice-led research proposes a self-illuminating frame for a new series of paintings, with an exhibition and manifesto proclaiming its position within contemporary painting. The thesis has four main chapters compiled from academic and practice led-research: picture frame, light, practice and exhibition. This research investigates the experimentation and evaluation of the development and use of a self- illuminating frame as a piece of wall-based sculpture, exploring the blurred space between the fields of painting and installation art. Collatio n of information from audience participation within the research exhibition was crucial in determining the validity and future aspiration of the research. Installation/Painting is considered within the gallery context as an extended mode of presentation analysing the atmospheric space that exists between the works of art and the viewer. The works of art are presented as wall-based sculpture with the investigation focusing on the indistinct space that exists between painting and installation art. This arises from the atmospheric lighting formed within the gallery space due to the self-illuminating frame. The research, questions the validity of this indistinct space and its effect upon its audience. The artworks created for the exhibitio n, Installation/Painting, are a hybrid of practices taken from the discipline of fine art, these being wall-based sculpture and installation art. The practice-led research reconciles the issue of painting and installation art as a distinct form and is presented as a research experiment in its own right. Practice-led research informed the development of the self-illuminating frame and the investigation into its purpose, functionality, value as a picture frame and its 5 relationship to light and the painted surface. This is in conjunction with the research exhibition, which considers the illumina tio n of the gallery space and its potential effect upon the audience. The research sets out to explore and innovate the discipline and aesthetic of contemporary painting. This is fostered through beliefs constructed in the philosophies of theosophy and Buddhism, and a continuation in practice of Kandinsky and Malevich. The initia l field of enquiry arose when reflecting upon paintings viewed in galler ies and the lack of observation paid to the picture frame. It is the frames invisibility in the distinct space between artwork, frame and viewer that the research aims to quantify; as Duro says, ‘we see the artwork, but we do not see the frame’ (Duro, 1996, p.1). This is regardless of size or the painting that the frame surrounds. Research suggests spectators do not see the frame due to human conditioning and observing representations of paintings without frames in books and articles (Lebensztejn, 1994, p.118). This is caused by an ‘imbalance of inquiry that the artwork has received in comparison to its frame’ (Duro, 1996, p.1), and as Tarasov says, it is due to the frame being ‘located at the periphery of our gaze’ (Tarasov, 2011, p.11). Academic research into the physicality of the picture frame has centred on historical and conservational contexts from a selection of European and American authors and researchers. Late twentieth and early twenty-first century fascination with the frame has re-emerged with an emphasis on reframing paintings within their original frames. The National Portrait Gallery (London) has a dedicated research page on The Art of the Picture Frame (title of exhibition and collection guide) of 1986 (National Portrait 6 Gallery, 1998), comprising of articles by Lynn Roberts, a leading international commentator on frames and co-author of Frameworks: Form, Function and Ornament in European Portrait Frames (1994) with Paul Mitchell. Mitchell is a framemaker and prominent authority on frames who has compiled a comprehensive bibliography on the history of the picture frame (Mitchell). In America, research on the frame and its history is limited in comparison to European texts. Influenced by European design, many texts and exhibitions on frames in America are curated by small, but well established frame companies, for example Gill and Logodich Gallery (Gill, 2000, p.82), and recently, the Getty Center exhibited Louis Style: French Frames, 1610-1792 (2016). On the contrary, major European museums and galleries have shown many exhibitions of frames, for example, In Perfect Harmony: Picture and Frame 1850-1920 (1995) at the Van Gogh Museum (Amsterdam) and Frames in Focus: Sansovino Frames (2015) at The National Gallery (London). The relatively unknown, Robert Kulicke, was influential in developing the picture frame in America and inspirational in the evolution of the self-illuminating frame. Kulicke was the last person to design frames for modern painting and photography in the gallery context. Kulicke designed the welded polished metal frame (1960), the Plexiglas box frame (1964) for the Museum of Modern Art (New York), and the metal section frame (1964) for commercial
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