Microsoft Word - Claudia_Chaseling_PhDThesis_02_10_2019_FIN.docx ! ! ! College!of!Arts!and!Social!Sciences! Research!School!of!Humanities!and!the!Arts! School!of!Art!&!Design! ! ! ! ! Visual'Arts'Graduate'Program' Doctor'of'Philosophy' ! ! ! ! CLAUDIA'CHASELING' ' SPATIAL'PAINTING'AND'THE'MUTATIVE'PERSPECTIVE:' HOW'PAINTING'CAN'BREACH'SPATIAL'DIMENSIONS'AND' TRANSFER'MEANING'THROUGH'ABSTRACTION' ! ! ! ! ! ! ! A!thesis!submitted!for!the!degree!of!the!! Doctor!of!Philosophy!! of!The!Australian!National!University!! April!2019! ©!Copyright!by!Claudia!Chaseling!2019! ! ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' ' Declaration'of'Originality' ' ' ' I,!Claudia!Chaseling……………………………………………………3.!April!2019!(sign!and!date)! hereby!declare!that!the!thesis!here!presented!is!the!outcome!of!the!research!project! undertaken!during!my!candidacy,!that!I!am!the!sole!author!unless!otherwise!indicated,! and!that!I!have!fully!documented!the!source!of!ideas,!references,!quotations!and! paraphrases!attributed!to!other!authors.! ! ! ! Acknowledgements For!unique!and!fantastic!support!of!my!practiceRlead!research!I!very!much!want!to! thank:! ! in!particular!Bojana!Pejic,!Charlotte!Galloway,!Denise!Ferris,!eX!de!Medici,!Gordon!Bull,! Jacinta!Lai,!Kerry!Crowley,!Louisa!Elderton,!Milovan!Destil!Markovic,!Toby!Golson,!! Vesna!Milosavljevic!and!Vivien!Silvey,!who!all!guided!and!encouraged!me!beyond!the! expected;!and!I!want!to!thank!David!Williams,!Emma!Beer,!Elisa!Crossing,!Erica! Seccombe,!Jennie!Lamensdorf,!Julie!Brooke,!Julie!Spencer,!Lara!Nicholls,!Marie!Hagerty,!! Millan!PintosRLopez,!Peter!Alwast,!Peter!Maloney,!Peter!Vandermark,!Raquel!Ormella,! Ruth!Waller,!Simon!Ramsey,!Sue!Banks!and!Terence!Maloon!for!their!valuable!input.! ! This!research!is!supported!by!the!Australian!Government!Research!Training!Program! Scholarship,!by!a!VC!Travel!Grant!and!the!Harris!&!Hobbs!Material!Award.! ! My!deep!gratitude.! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! For!my!Mum!and!for!my!Dad! Irmgard!Annemarie!Poetzsch!(*Ederer)!and!Klaus!Poetzsch!! ! ! ! ! SPATIAL'PAINTING'AND'THE'MUTATIVE'PERSPECTIVE:' HOW'PAINTING'CAN'BREACH'SPATIAL'DIMENSIONS'AND'TRANSFER' MEANING'THROUGH'ABSTRACTION' ! ! ! ! ! ! ! Fig.!1:!devolution,!2017,!ink,!aluminium!and!egg!tempera!on!wall,!floor!and!ceiling,!325!x!665!x!450!cm!! ! ! ABSTRACT' ! My!practiceRled!PhD!research!investigates!the!broadening!of!physical!boundaries!of!the! painting!medium!and!inquires!into!the!ways!abstract,!nonRrepresentational!painting!can! communicate!narratives!that!have!a!socioRpolitical!meaning,!namely,!the!radioactive! contamination!of!depleted!uranium!munitions.!It!considers!how!painting!can!extend! into!space!to!affect!the!viewer’s!sense!of!twoR!and!threeRdimensional!boundaries!and! convey!specific!socioRpolitical!meaning!as!such.!! This!inquiry!has!comprised!two!parts:!firstly,!I!conducted!research!into!the!historical! and!contemporary!use!of!perspective!in!painting!from!the!Byzantine!period!to!the! contemporary!day,!exploring!painting!methods!that!have!challenged!conventional,! rational!notions!of!perspective.!This!laid!the!foundations!for!the!second!part,!during! which!I!developed!a!new!perspective!in!painting!that!I!have!termed!‘Mutative! Perspective’!and!‘Spatial!Painting’.!! ! I!selected!these!phrases!because!they!reflect!the!subject!matter!that!my!experimental! approach!investigates:!radioactive!contamination!and!its!effect!on!living!forms.!My! interest!in!this!issue!concerns!the!abuse!of!depleted!uranium!munitions!in!wars!since! the!1990s.!! Accordingly,!I!have!developed!a!narrative!that!explores!these!events!and!uses!abstract! painting!as!a!medium!to!transmit!the!meaning!of!contamination!in!visual!terms.!Over!a! fourRyear!research!period,!I!focused!on!interweaving!these!elements!so!that!the! materiality!of!abstract!painting!expresses!a!social!narrative.!Taking!into!account!both! historical!and!contemporary!artistic!approaches!to!perspective,!my!intention!has!been! to!alter!today’s!conventional!understanding!of!space!to!establish!an!ambiguous!field,! one!hovering!between!the!twoR!and!threeRdimensions.!My!painting!method!affects!our! perception!of!space!and!depth;!these!elements!are!an!active!part!in!the!painting,!visually! adjusted!to!reflect!the!mutative!affects!of!my!subject!matter.!I!also!embed!subtle! elements!such!as!familiar!forms,!symbols,!and!text!to!disrupt!an!abstracted!painting! method,!keeping!the!space!in!flux.!Once!our!perception!adapts!to!this!visual! environment!the!information!can!be!decoded.!! My!process!of!Spatial!Painting!and!the!Mutative!Perspective!engages!with!our!current! time!and!offers!a!new!pathway!for!navigating!and!connecting!with!abstract!painting.! ' ' ! TABLE'OF'CONTENTS' Declaration!of!Originality! ! ! ! ! ! ! 2! Acknowledgements! ! ! ! ! ! ! ! 3! Abstract! ! ! ! ! ! ! ! ! 5! Table!of!Contents! ! ! ! ! ! ! ! 7! ! INTRODUCTION' ' ' ' ' ' ' ' 8' ' CHAPTER'ONE:'THE'PRACTICE'OF'SPATIAL'PAINTING' ' ' 19' Murphy!–!A!Parallel!Universe! ! ! ! ! ! ! 20! Content,!Abstraction!and!Space! ! ! ! ! ! 23! SiteRMutative!Painting:!Redefining!Concepts!of!Pictorial!Space! ! 24! Mutative!Perspective! ! ! ! ! ! ! ! 31! My!Field!Research:!Encounter!with!the!Byzantine!Icon!Tradition! ! 35! Depth!on!Working!Surface! ! ! ! ! ! ! 39! Depth!on!my!Paintings!and!the!Language!of!Colour! ! ! ! 44! ! CHAPTER'TWO:'THE'PERSPECTIVE'PARADIGM' ' ' ' 52' Theoretical!Background!of!Western!(European)!Practices! ! ! 54! Perspective!Defined!in!NonRWestern!Cultures!! ! ! ! 55! Byzantine!Tradition:!The!Reverse!Perspective!! ! ! ! 57! Russian/Soviet!Avant!Guard!and!the!Icon!Tradition! ! ! ! 61! Painting!as!a!‘Window’!! ! ! ! ! ! ! 63! Beyond!Central!Perspective!Illusionism!! ! ! ! ! 65! ! CHAPTER'THREE:'MUTATIVE'PERSPECTIVE'AS'MY'TOOL' ' ' 71' Distorted!Perspective!and!SiteRmutative!Painting! ! ! ! 72! Oviform!Paintings! ! ! ! ! ! ! ! 77! Infiltrated!Perspective!and!Negative!Shapes!! ! ! ! ! 81! Dissolving!Space!! ! ! ! ! ! ! ! 92! Some!Aspects!of!‘PostRConceptual!Abstraction’! ! ! ! 96! Hyperspace!and!Today’s!Digitalized!Perspective! ! ! ! 97! ! CHAPTER'FOUR:'RADIATIONSCAPES' ' ' ' ' 101' Naturalist!Impulse!and!Looking!at!Rainbows! ! ! ! ! 106! Biomorphic!Abstraction!and!the!‘Atomic!Sublime’!! ! ! ! 108! Political!Content!in!Radiationscapes!! ! ! ! ! ! 112! Narrative!in!Spatial!Paintings!! ! ! ! ! ! ! 116! Inserting!Text!in!the!Pictorial!Field!!! ! ! ! ! ! 119! Rendering!the!Silent!Genocide!Visible!!! ! ! ! ! 122! The!Function!of!Aluminium!in!SiteRMutative!Painting! ! ! ! 123! Capsules:!From!Canvas!to!the!0bject! ! ! ! ! ! 127! The!‘Affective!Tone’!of!Spatial!Painting! ! ! ! ! 129! ! CONCLUSION' ' ' ' ' ' ' ' ' 133' ' REFERENCES' ' ' ' ' ' ' ' ' 147' Bibliography! ! ! ! ! ! ! ! ! 147! List!of!Illustrations! ! ! ! ! ! ! ! 156! Research!Outcomes! ! ! ! ! ! ! ! 163! ' ' ! 8 INTRODUCTION' ! Art!enables!matter!to!become!expressive,!to!not!just!satisfy!but!also!to!intensify!–! to!resonate!and!become!more!than!itself.!This!is!not!to!say!that!art!is!without! concepts;!simply!that!concepts!are!byRproducts!or!effects!rather!than!the!very! material!of!art.!Art!is!the!regulation!and!organization!of!its!materials!–!paint,! canvas,!concrete,!steel,!marble,!words,!sounds,!bodily!movements,!indeed!any! materials!–!according!to!selfRimposed!constraints,!the!creation!of!forms!through! which!these!materials!come!to!generate!and!intensify!sensation!and!thus!directly! impact!living!bodies,!organs,!nervous!systems.! ! ! Elizabeth!Grosz!1!! During!my!practiceRbased!research,!which!began!in!2013,!my!aim!has!been!to! investigate!the!discourse!between!painting!abstract!forms!and!the!communication!of!a! clear!social!message!on!the!pictorial!surface.!I!am!searching!for!a!perspective!in!painting! that!captures!the!unstable!realities!that!we!are!experiencing!today.!Today!we!live!today! in!a!multidimensional!reality!that!spans!the!physical!and!digital!worlds.!We!can!be!in! two!places!at!once:!online!and!offline.!We!can!experience!both!time!and!space!via!the! flatness!of!digital!screens,!and!as!such,!our!relationship!with!physicality,!with!touch!has! shifted.!It!too!has!impacted!the!capacity!for!memory:!what!is!recorded!digitally!can!be! deleted!in!a!fraction!of!a!second,!and!it!can!also!live!eternally!if!its!online!life!allows.! Moreover,!our!memories!can!be!overwhelmed!by!the!stimulus!of!today’s!digital!world!so! that!no!one!piece!of!information!meaningfully!computes.!Arguably,!this!multiR dimensional!reality!obscures!what!is!‘real’!in!our!reality!–!the!natural!world!where!soil! and!moisture!make!plants!grow,!which!feed!animals!and!humans,!who!evolve!and!die!as! light!and!shadow!move!with!the!day!and!night!and!years!elapse.!During!my!research!my! investigations!have!lead!me!to!create!18!Spatial!Paintings,!which!take!over!walls,!spaces! and!environments,!as!well!as!46!paintings!on!canvas!and!innumerable!works!on!paper.! Prior!to!beginning!my!thesis,!my!work!continuously!evolved!towards!visualizing! invisible!conditions!in!the!landscape.!The!spaces!I!painted!had!been!forcefully!impacted! by!chemical!and!technological!changes!that!impacted!the!natural!landscape.!In! particular!I!was!investigating!radioactive!pollution.!The!primary!question!for!me!has! always!been:!how!do!we!as!humans!relate!to!our!environment!via!various!perspectives! that!are!determined!by!our!psychological,!political!and!philosophical!state,!and!how!are! these!impacted!by!technology.!Moreover!I!wondered!about!how!the!environment!has! been!shaped!by!technology:!today,!is!nature!ever!really!natural,!or!rather!a!form!of! ‘postRnature’!that!has!been!mutated!and!altered!by!harmful!radioactivity?!I!first! encountered!the!dangers!of!nuclear!radiation!in!1986!as!a!child!in!Munich.!Europe!and,! indeed,!the!world!was!threatened!by!the!spread!of!radioactive!pollution!as!a!result!of! the!Chernobyl!disaster!–!a!catastrophic!nuclear!accident!at!the!Chernobyl!Nuclear!Power! Plant!in!Soviet!Ukraine.!Later,!in!2005,!I!saw!a!documentary!by!the!German!film! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1!Elizabeth!Grosz,!Chaos,!Territory,!Art!–!Deleuze!and!the!Framing!of!the!Earth!(New!York:!Columbia! !University!Press,!2008),!p.!4.! ! 9 producer!Frieder!Wagner!about!Prof.!Dr.!Dr.!Siegwart!H.!Guenther2,!which!explored!the! impact!of!radioactive!poisoning!by!depleted!uranium!munitions.!It!was!this! documentary!that!deeply!affected!the!development!of!my!work,!became!the!foundation! of!my!research!and!will!continue!to!direct!my!future!practice.!! ! Fig.!2:!Aporie!1,!2007,!egg!tempera!and!oil!on!canvas,!200!cm!x!400!cm! ! From!2011–13!my!painting!became!directed!by!this!subject!–!previously!it!had!been!less! significant.!As!such,!I!started!my!PhD!as!a!means!of!further!investigating!this!interest!in! representing!radioactive!pollution!caused!by!depleted!uranium!munitions.!My!belief!is! that!this!is!part!of!the!nature!in!which!we!exist!at!present,!and!thus!should!be!depicted.! My!paintings!ask:!is!our!environment!a!form!of!postFnature!that!has!been!mutated!and! altered!by!harmful!radioactivity?!In!other!words:!can!we!believe!our!eyes?!As!such,!my! paintings!dissolve!landscapes!into!compositions!of!toxic!colour!that!comprise!negative! shapes!and!abstract!forms.! ! Fig.!3:!beetle!1,!2013,!egg!tempera!and!oil!on!canvas,!40!cm!x!40!cm! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2!Der!Arzt!und!die!verstrahlten!Kinder!von!Basra,!by!Prof.!Dr.!Dr.!Siegfried!Horst!Günther,!accessed!between! 2005!–!July!10,!2015,!https://www.youtube.com/watch?v=ERmabAyg4X0!or! https://www.youtube.com/watch?v=YwrFRqZKqUw! ! ! 10 My!initial!PhD!research!proposal!was!titled!Painting!and!Spatial!Ambiguity:!How! Painting!Can!Bridge!Dimensions.!I!planned!to!focus!solely!on!demonstrating!how! paintings!can!surpass!the!physical!reality!of!the!painted!surface,!blurring!twoR!or!threeR dimensions!to!shift!the!viewer’s!experience!of!space.!I!sought!to!argue!that!the!physical! volume!and!geometry!of!an!interior!space!can!be!overwritten!by!the!presence!of!a! painting.!Furthermore,!I!wanted!onlookers!to!be!inside!the!painting,!akin!to!being!inside! a!landscape,!or!indeed,!inside!a!specific!idea.!Which!forms!should!cover!such!a!space!to! achieve!this!affect?!I!researched!painting!methods,!forms,!colours!and!materials!to! create!an!experience!for!the!viewer!that!would!reflect!the!sense!and!meaning!of! radioactive!contamination.!! The!early!research!period!of!my!PhD!concentrated!on!how!my!expanded!painting! creates!a!particular!sensation!that!overpowers!the!common!perception!of!the!given! interior!space.!I!wanted!to!demonstrate!that!the!experience!of!viewing!my!paintings,! whether!it!is!twoR!or!threeRdimensionally!composed,!or!in!other!words!painted!on! canvas!or!expanding!to!encompass!the!architectural!space!itself!–!overpowers!the! architectural!surrounding!to!become!the!primary!reference!point.!The!visual!and! sensory!aspects!of!the!painting!create!a!new!spatial!reality.!Therefore,!with!my!painting! practice!I!propose!a!novel!understanding!of!spatiality,!one!that!reaches!beyond! formalism,!reaching!into!today’s!political!landscape.!! Given!that!the!works!are!not!permanent,!being!installed!only!temporarily,!my!first!group! of!Spatial!Paintings!is!documented!through!the!photography!in!my!monograph!Claudia! Chaseling!–!Spatial!Painting!in!2016.3!! ! Fig.!4:!My!book:!Claudia!Chaseling!–!Spatial!Painting,!2016! ! During!my!research!I!had!two!primary!concerns:!the!first!was!the!materiality!of!the! paint.!I!wanted!to!reconsider!and!reRthink!how!a!painting!could!be!materially!structured,! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 3!Benedikt!Stegmayer!et!al.,!Claudia!Chaseling!–!Spatial!Painting!(Berlin:!Verlag!fuer!Zeitgenoessische!Kunst! und!Theorie,!2016).!The!focus!of!this!book!was!on!the!paintings!that!envelop!viewers;!paintings!that! become!a!place!in!and!of!themselves,!instead!of!being!something!to!look!at!from!afar.!The!first!section! examines!my!threeRdimensional!painting,!which!encompass!walls,!floors!and!ceilings;!the!second!section! looks!at!my!paintings!on!canvas,!which!become!wallRlike,!depicted!on!a!twoRdimensional!surface.!! ! ! 11 extending!it!into!architectural!space!as!a!means!of!reRinvention–!transmitting!the! specific!meaning!of!my!subject!matter.!Colour!and!form!can!bridge!dimensions!to! become!object,!space!and,!thus,!a!visual!language!in!its!own!right.!In!my!research!I! wanted!to!find!out!how!I!could!conceive!‘the!affectual!tone’4!of!my!painting:!I!wanted!the! abstract!visuals!to!materially!project!the!meaning!of!my!paintings.! My!second!and!equally!important!focus!lay!in!conveying!particular!content.!This! concerned!our!contemporary!political!condition,!particularly!warfare,!genetic! engineering!and!use!and!abuse!of!science!for!military!aims.!The!motivation!was,!and! remains,!to!awaken!our!attention!to!environmental!damages!caused!by!manRmade! radioactive!radiation,!which!is!mutating!nature!–!from!humans!to!natural!forms!in!the! environment.!As!such,!my!practice!had!dual!concerns!and!became!a!hybrid!that!focused! on!both!the!material!aspects!of!painting!–!colour,!surface!and!form!–!and!the!narrative! being!expressed.!! Given!that!I!am!an!abstract!painter,!I!am!not!interested!in!literal!storytelling.!The! narrative!that!I!speak!of!is!triggered!by!events!that!have!occurred!in!the!real!world.!I!am! mapping!the!places!contaminated!by!depleted!uranium!munitions.!These!are!visualized! by!combining!my!dynamic!abstract!shapes!with!verbal!indicators!and!web!links!that!are! embedded!in!both!my!canvases!and!threeRdimensional!paintings.!It!was!this!question!of! ‘why’!that!propelled!my!PhD!research!as!an!abstract!painter,!and!soon!after!starting!my! program,!I!wanted!to!expand!my!field!of!research.!I!started!to!question!whether!how!my! work!could!fuse!abstraction!and!figurative!aspects.!My!practice!has!included!text,! graphic!novels!and!photographs;!I!wondered!whether!I!should!introduce!any!of!these! additional!elements!into!my!environmental!paintings.!Might!this!help!viewers!to!decode! the!content!of!the!work?!If!so,!should!I!incorporate!them!inside!the!painting!–!placing! photographs!or!the!graphic!novel!within!the!delineated!area!–!or!alternatively,!could! there!be!new!methods!that!would!could!be!an!affective!means!of!conveying!meaning?!In! order!words,!I!asked!myself!the!same!question!that!accompanied!the!birth!of!abstract! painting!in!the!early!twentieth!century:!can!abstraction!transmit!a!specific!idea!with! accuracy?'! I!devised!my!own!terminology!through!my!research,!which!was!not!invented!a!priori!but! as!a!‘byRproduct’!(see!quote!by!Grosz!above)!during!the!process!and!development!of!my! painting!practice.!Accordingly,!there!are!three!concepts!that!I!consider!central!to!my! work;!these!are!discussed!respectively!in!the!chapters!of!this!thesis:!Spatial!Painting,! Mutative!Perspective!and!SiteFmutative!Painting.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 4!See!Susan!Best,!Visualizing!Feeling,!Affect!and!the!Feminine!AvantFgarde!(London!and!New!York:!L.B.!Tauris,! 2011).! ! ! 12 ! Fig.!5:!symbiosis!was!long!ago,!2012,!egg!tempera!and!oil!on!wall,!floor,!canvas!and!concrete!objects,!! 350!cm!x!600!cm!x!600!cm,!installed!in!a!public!car!park! The!phrase!‘Spatial!Painting’!encompasses!the!entirety!of!my!pictorial!practice!–!both!my! twoR!and!threeRdimensional!work.!I!owe!this!notion!to!a!fellow!artist!and!colleague,! Milovan!Destil!Markovic,!who!coined!it!in!2012!during!a!studio!visit!during!which!we! analysed!my!works.!So!essentially,!this!term!refers!to!all!of!my!artworks:!to!the!twoR dimensional!canvases!and!works!on!paper,!videos!and!to!the!paintings!that!extend!into! threeRdimensional!space!to!cover!walls,!floors,!ceilings!and!objects.! I!consider!the!concept!of!‘Mutative!Perspective’!to!be!the!primary!aim!of!my!practice.! The!term!points!towards!the!idea!of!the!potential!for!extreme!change!in!our!biological! construct.!As!such,!the!Mutative!Perspective!in!painting!addresses!the!idea!of!a!shifting! truth,!namely,!the!mutation!of!DNA!in!living!creatures!that!have!been!exposed!to! radiation.!This!phrase!derives!from!a!graphic!novel!that!I!produced!in!2013,!titled! Murphy!the!Mutant,!which!featured!a!landscape!that!had!been!devastated!by!a!nuclear! disaster.!The!term!also!suggests!my!intention!to!actively!change!the!perception!of!space;! it!derives!from!the!Latin!mutation[n]!–!from!mutare,!meaning!‘to!change’.!My!interest! lies!in!transforming!perception,!distorting!it!to!disseminate!political!content.!Therefore,! this!graphic!novel!was!a!turning!point!that!shaped!how!my!artistic!practice!was!to! proceed.!! I!utilize!the!expression!‘SiteRmutative!Painting’!for!my!threeRdimensional,!largeRscale! and!environmental!works,!which!I!produce!outside!the!studio!and!are!often!specific!to!a! location.!The!term!‘SiteRmutative’!is!used!to!describe!my!interest!in!something! undergoing!change!as!the!result!of!radiation,!and!in!this!case,!in!something!transitioning! or!taking!on!a!new!form!to!provide!a!different!sense!of!space.!As!such,!my!painting! process!is!concerned!with!investigating!perception!and!perspective.!I!alter!the!existing! ! 13 view!of!a!space!so!that!it!can!be!perceived!differently!and,!thus,!derive!new!meaning.!I! focus!on!the!notion!of!instability,!distortion!and!infiltration.!! I!will!argue!in!this!final!chapter!that!‘Mutative!Perspective’!in!painting!responds!to!and,! most!importantly,!investigates!the!impact!of!radiation!during!this!period!in!our!history.! The!space!itself!in!which!my!work!is!situated!is!not!of!particular!interest!to!me;!rather,!I! use!the!geometry!of!the!walls,!floor!and!ceiling!as!a!surface!onto!which!I!can!paint,!my! aim!being!to!mutate!the!space!and,!as!such,!give!it!a!new!meaning.!! Considering!this!idea!of!‘Mutative!Perspective’!encouraged!me!to!look!back!into!art! history!and!historical!approaches!to!perspective.!Being!an!artist!brought!up!in!the!west,! within!a!Eurocentric!tradition,!I!was!familiar!with!the!idea!of!linear!and!central! perspective!(creating!the!illusion!of!depth!on!a!flat!surface!using!parallel!lines!that! converge!at!a!vanishing!point),!as!codified!during!the!Italian!Renaissance.!Practices! introduced!by!modern!artists!in!the!lateRnineteenth!century!and!earlyRtwentieth!century! distorted!this!rationality,!but!nonetheless,!its!basic!tenets!persist.!Even!today!in!the! twentyRfirst!century,!lots!of!photography!and!video!art!is!dependent!upon!this!historical! approach!to!rational!perspective.!In!the!1920s,!German!art!historian!Erwin!Panofsky! elaborated!on!the!classical!idea!of!linear!perspective!and!his!theory!is!a!commonly!cited! approach!to!the!subject.!5!A!later!revisions!of!this!study!is!the!groundRbreaking!volume! The!Origin!of!Perspective!by!French!art!historian!Huber!Damisch,!which!destabilized!this! timeRhonoured!Eurocentric!position,!arguing!that:! Panofsky!is!ignoring!those!civilizations!that!seem!to!have!been!unfamiliar!with! perspective!–!at!least!with!linear!perspective!–!taking!into!consideration!only! those!periods!of!western!art!that!knew!of!it,!or!that!refused!it!in!a!more!or!less! deliberate!and!radical!way:!that!refused!it!or!negated!it,!in!a!dialectical!sense!of! the!word.6!! Damisch!proposes!that!the!term!‘perspective’!should!be!used!in!plural!rather!than! singular!form:!perspectives.!! In!developing!‘Mutative!Perspective’,!I!have!investigated!and!incorporated!nonR European!notions!of!such!pluralities!–!of!perspectives.!For!example,!as!part!of!my! research!in!2015,!I!encountered!the!Byzantine!icon!tradition!in!numerous!medieval! churches!and!monasteries!in!Serbia!and!Kosovo.!Indeed,!my!interest!in!reverse! perspective!(where!the!objects!depicted!are!placed!between!the!projective!point!and!the! viewing!plane)!had!begun!as!early!as!1995!during!a!trip!to!Syria!led!by!my!painting! Professor!Marwan!while!I!was!studying!painting!at!University!of!the!Arts!in!Berlin!(UdK).! I!was!deeply!impressed!by!the!Byzantine!paintings!and!mosaic!icons!in!Damascus,! Palmyra!and!Maaloula.!! I!came!to!understand!that!the!anonymous!Masters!who!painted!these!church!walls!and! ceilings!and!who!created!floor!mosaics!were!staging!the!icons!in!space.!In!other!words,! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5!Erwin!Panofsky,!Perspective!as!Symbolic!Form!(New!York:!Zone!Books,!1991),!p.!13.!Translated!by! Christopher!S.!Wood.!Originally!published!as!“Die!Perspective!als!‘symbolishe!Form’,”!in!the!Vortäge!der! Bibliothek!Warburg!1924R1925!Leipzig!&!Berlin:!1927,!pp.!258R330.! 6!Hubert!Damisch,!The!Origin!of!Perspective!(Cambridge,!MA!and!London:!The!MIT!Press,!1995),!p.!13!Italics! in!original.!Translated!from!the!French!original!of!1987!by!John!Goodman.! ! 14 they!were!inventing!what!I!understand!to!be!the!earliest!examples!of!spatial!painting.!In! this!nonRWestern,!EasternROrthodox!religious!tradition,!icon!painters!intended!to! transmit!the!content!of!space!but!not!its!organization!per!se.!As!Florensky,!in!his!1919– 20!text!Reverse!Perspective!asserts:! In!order!to!represent!a!given!space!with!all!of!the!points!that!comprise!its! content,!figuratively!speaking!one!must!either!grind!it!into!the!finest!of!powders! and!then,!having!carefully!stirred!it,!sprinkle!it!over!the!depicted!surface!so!that! no!trace!of!its!initial!organisation!remains.!Or!else!one!must!cut!it!up!into!many! layers,!so!that!something!of!its!form!remains,!but!position!these!layers!with! repetitions!of!those!same!elements!of!form,!while!at!the!same!time!mutually! interpenetrating!these!elements!among!each!other,!causing!several!elements!of! the!form!to!become!embodied!in!the!same!points!of!the!representation.7!! In!the!book!Installation!Art,!art!historian!Claire!Bishop!remarks!that!in!the!late!1960s! when!contemporary!artists!staged!their!environments,!situations!and!spaces!outside! their!studios,!using!the!gallery!space!as!a!site!of!production,!art!theory!experienced!a! growth!in!critical!writings!on!perspective.!Bishop!writes:! In!Perspective!as!Symbolic!Form!(1924/25),!the!art!historian!Erwin!Panofsky! argued!that!Renaissance!perspective!placed!the!viewer!at!the!centre!of!the! hypothetical!world!depicted!in!the!painting:!the!line!of!perspective,!with!its! vanishing!point!on!the!horizon!of!the!picture,!was!connected!to!the!eyes!of!the! viewer!who!stood!before!it.!A!hierarchical!relationship!was!understood!to!exist! between!the!centred!viewer!and!the!world!of!the!painting!spread!before!him.! Panofsky!therefore!equated!Renaissance!perspective!with!the!rational!and!selfR reflective!Cartesian!subject!(I!think!therefore!I!am).8! Certain!artists!working!at!the!beginning!of!the!twentieth!century,!particularly!those! engaged!in!making!abstract!art,!dismantled!the!prescriptions!imposed!by!the!canon!of! central!perspective,!exploring!original!ways!in!which!to!render!space!on!a!picture!plane! –!I!am!referring!in!particular!to!the!Cubists,!Futurists!and!Russian!Constructivists.9!! In!the!1960s,!when!contemporary!artists!began!working!with!space!itself!or!in!a!siteR specific!gallery,!they!were!not!interested!in!the!rational!Renaissance!codes!of! perspective.!French!philosopher,!Maurice!MerleauRPonty,!whose!theory!of! phenomenological!thinking!addressed!this!alternative!approach!of!the!perceiving!body! moving!in!space,!inspired!a!number!of!American!Minimalists10!including!as!Robert! Morris,!Carl!Andre,!Donald!Judd!and!Eva!Hesse.!He!too!inspired!other!artists!engaged!in! performance!and!body!art!such!as!Vito!Acconci,!Yayoi!Kusama,!Yoko!Ono,!Marina! Abramovic!and!Hermann!Nitsch.!I!consider!MerleauRPonty’s!observations!as!being! directly!relevant!to!the!theory!of!my!SiteRmutative!Paintings,!particularly!his!statement:! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 7!Pavel!Florensky,!Reverse!Perspective!1919/20,!Monoskop,!accessed!May!13,!2017,!! https://monoskop.org/images/1/11/Florensky_Pavel_1967_2002_Reverse_Perspective.pdf! 8!Claire!Bishop,!Installation!Art!F!A!Critical!History!(London:!Tate!Publishing,!2005),!p.!11.! 9!Margit!Rowell,!“The!Planar!Dimension!1912R1932:!from!Surface!to!Space,”!in!Planes:!The!Planar!Dimension! –Europe,!1912F1932!(New!York:!The!Solomon!Guggenheim!Foundation,!1979),!pp.!9R31.! 10!See:!Robert!Morris,!“Some!Notes!on!the!Phenomenology!of!Making:!the!Search!for!the!Motivated”!(1970),! reprinted!in:!Baker!Sandback,!Amy,!ed.!Looking!Critically:!21!Years!of!Artforum!Magazine!(Ann!Arbor,! Michigan:!Umi!Research!Press,!1984),!pp.!88R92.! ! 15 ‘I!do!not!see!it![space]!according!to!its!exterior!envelope;!I!live!it!from!the!inside;!I!am! immersed!in!it.!After!all,!the!world!is!around!me,!not!in!front!of!me.’!11! My!questions!evolved!to!ask:!can!my!abstract!painting!incorporate!a!narrative! component!and!still!remain!purely!abstract?!A!key!influence!on!the!development!and! trajectory!my!artwork!was!hearing!the!Austrian!avantRgarde!artist!Hermann!Nitsch’s! personal!opinion!that!painting!can!be!a!direct!imprint!of!the!painter’s!action!and! thinking!–!from!spatial!understanding!beyond!the!canvas’s!borders!and!the!belief!that! thought!can!be!directly!present!in!the!abstract!painting.12! Fig.!6:!Hermann!Nitsch!inside!his!painting,!1987! In!the!1970s,!when!we!entered!Postmodern!era,!many!artists,!art!critics!and!historians! started!to!question!the!formalist!interpretation!of!abstract!art.!They!posited!that! abstract!painting!should!deal!with!pure!forms!and!should!avoid!any!reference!that!may! point!to!the!real!world!existing!outside!the!pure!pictorial!field.!As!such,!explicitly!or! implicitly,!they!suggested!that!abstract!artists!should!avoid!representing!anything! outside!of!the!work!itself.!This!was!a!belief!that!Frank!Stella!once!summarized!in!the! statement:!‘What!you!see!is!what!you!see.’13!! These!Modernist!statements!were!exposed!to!a!radical!critique!by!artists!and!art!critics,! including!the!American!video!artist!Douglas!Davis,!whose!cynical!quote!I!use!as!the! motto!in!Chapter!One!of!this!thesis:! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 11!Maurice!MerleauRPonty,!“Eye!and!Mind”!1964,!accessed!May!15,!2018,!! https://www.academia.edu/485645/MerleauRPontys_EYE_AND_MIND_ReRThinking_the_Visible! 12!Hermann!Nitsch!in!conversation!with!the!artist,!August!1993!and!August!1997.!! 13!Bruce!Glaser,!’What!You!See!Is!What!You!See’:!Donald!Judd!and!Frank!Stella!on!the!End!of!Painting,!in!1966,! Interview,!ed.!Lucy!R.!Lippard,!Art!News,!7!October!2015,!‘All!I!want!anyone!to!get!out!of!my!paintings!is!the! fact!that!you!can!see!the!whole!idea!without!any!conclusion.!What!you!see!is!what!you!see.’!See:! http://www.artnews.com/2015/07/10/whatRyouRseeRisRwhatRyouRseeRdonaldRjuddRandRfrankRstellaRonR theRendRofRpaintingRinR1966/2/! ! 16 Form!and!Content!approached!each!other!on!the!infinite!line,!travelling!fast.! ‘Where!are!you!going?’!asked!Content!of!Form.!‘To!the!end!of!the!line,’!answered! Form,!‘away!from!you.’!‘So!am!I,’!said!Content.!Then!they!collided.!14! One!of!the!most!prominent!art!critics!who!dismantled!the!dogma!of!the!formalist! doctrine!was!Thomas!McEvilley,!who!wrote!that!formalist!critics!from!Benedetto!Croce! to!Clement!Greenberg!‘denied!the!appropriateness!of!any!acknowledgment!of!content’! and!particularly!the!content!the!modern!artists!provided!by!rendering!‘verbal! supplements’!in!their!abstract!works:! Many!of!the!artists!whom!these!critics!represented!–!and!on!whose!work!they! based!their!arguments,!supposedly!–!did!not!agree!with!this!at!all.!In!written! supplements!in!the!forms!of!titles,!interviews,!essays,!and!catalogue!statements,! artists!from!Kandinsky!and!Mondrian,!to!Rothko!and!Newman!rejected!the!pure! form!analysis!of!their!work!and!specified!the!contents!they!intended!to!carry![…]! This!is!why!formalists!critics!in!their!heyday!insisted!that!one!should!never! listen!to!artists.15! Coming!closer!now!to!the!contemporary!condition!of!abstract!painting,!I!situate!my! Spatial!Painting!in!the!context!of!contemporary!art!theory.!The!thinking!offered!by! British!art!historian!Peter!Osborn!about!painting!made!‘after!conceptual!art’!are! relevant!to!my!practice.!He!writes:!‘What!is!peculiar!about!postRconceptual!painting!is! that!it!must!treat!all!forms!of!painterly!representation!“knowingly,”!as!themselves!the! object!of!a!variety!of!secondRorder!(nonRpainterly)!representational!strategies,!if!it!is!to! avoid!regression!to!a!traditional!concept!of!the!aesthetic!object.’16!In!his!view,!this!does! not!rule!out!the!possibility!of!postRconceptual!abstraction.!Following!this!line!of!thought,! art!historian,!writer!and!curator!Bojana!Pejić!has!identified!my!works!as!‘referential! abstraction.’17! Therefore,!over!the!period!in!which!I!have!been!working!on!Spatial!Paintings!I!have! thoroughly!rethought!and!expanded!my!research!questions!to!ask:!what!rules!in! painting!perspective!do!I!need!to!subvert!in!order!to!achieve!a!new!sensual!reality!in!the! exhibition!space!and,!moreover,!why!and!how!do!I!want!to!transform!the!space?!I! realised!that!it!is!the!narrative!moment!that!drives!my!need!to!paint!and,!indeed,!it!is!this! factor!that!initiates!my!will!to!begin!an!artwork.!There!is!always!something!that!deeply! touches!me,!something!I!see!as!vital!information!that!should!not!be!forgotten!or!that! needs!to!be!distributed.!The!resulting!artwork!is!painted!as!a!form!of!biomorphic! abstraction;!it!can!be!nonRrepresentational!and!still!contain!precise!content!that!can!be! decoded.!The!Spatial!Paintings!expand!over!the!walls,!floor!and!ceiling!to!enhance!a! physical!moment!for!the!observer,!which!aims!to!support!the!subject!matter!of!the!work! further.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 14!Douglas!Davis,!’PostRModern!Form:!Stories!Real!and!Imagined/!Toward!a!Theory,’!in!his!Artculture:!Essays! on!the!PostFModern!(!New!York:!Icon!Editions,!Harper!&!Row!Publishers,!1977),!p.155.! 15!Thomas!McEvilley,!‘On!the!Manner!of!Addressing!Clouds,’!in!Artforum,!Summer!1984,!Vol.!22,!No.!10,!! p.!67.! 16!Peter!Osborne,,’!Modernism,!Abstraction,!and!the!Return!to!Painting,’!in!Thinking!Art:!Beyond!Traditional! Aesthetics,!eds.!Andrew!Benjamin!and!Peter!Osborne!(London:!Institute!of!Contemporary!Art,!1991),!p.!72.! (Italics!in!original).! 17!Bojana!Pejić,!art!historian!based!in!Berlin,!unpublished!interview!with!the!author,!January!17,!2016.! ! 17 Chapter'Overview' ! My!exegesis!traverses!thematic!and!chronological!developments.!In!‘Chapter!One:!The! Practice!of!Spatial!Painting’,!I!address!my!art!practice!using!the!example!of!the!Spatial! Painting!blender!(2013).!This!work!was!made!during!the!first!year!of!my!research!when! I!was!dealing!with!blending!the!borders!of!walls!and!floors.!To!introduce!an!additional! narrative!element!I!combined!my!painting!with!my!drawn!and!filmed!graphic!novel! Murphy!the!mutant!(2013),!incorporating!a!video!screen!in!a!huge!environmental!work! occupying!the!gallery’s!floors!and!wall.!Therefore,!within!this!Spatial!Painting!I! consciously!included!precise!content!about!the!subject!matter!of!radioactive! contamination.! I!give!an!insight!into!the!artRhistorical!and!artistic!influences!that!have!been!role!models! for!combining!painting!with!narrative!content,!either!on!stretched!canvases!or!within! space!on!the!walls.!I!discuss!here!the!term!‘SiteRmutative!Painting’.!My!term!only!applies! to!the!environment!works,!largeRscale!paintings!on!canvas!and!paintings!that!reach!over! corners!and!wallRfloorRceiling!paintings.!I!describe!here!in!detail!my!working!procedure.! I!also!communicate!my!experiences!of!working!with!space!and!on!a!flat!surface,!and!how! these!were!informed!by!my!trips!to!Serbia!and!Kosovo,!and!when!meeting!an!Aboriginal! women!painter,!Banduk!Marika,!in!1999!in!Yirrkala,!North!East!Arnhem!Land,!Northern! Territory,!Australia.! ‘Chapter!Two:!The!Perspective!Paradigm’,!investigates!perspectives!in!terms!of!cultural! determinations.!I!explore!how!changing!perspectives!signify!new!thinking,!even!new! epochs,!and!what!this!knowledge!means!for!my!painting.!I!firstly!discuss!the! Renaissance!theory!of!central!and!linear!perspective,!written!in!the!1920s!by!Erwin! Panofsky,!and!then!rely!on!relatively!recent!polemical!accounts!on!this!perspective!by! writers!such!as!Hubert!Damisch.!Of!particular!importance!is!the!relationship!between! central!perspective!and!the!rise!of!easel!painting,!which!conditioned!central!perspective.! Once!the!painted!scenes!that!occupied!the!walls!of!churches!or!public!buildings!became! detached!from!the!walls,!they!were!converted!into!portable!objects!and!were!available! for!private!purchase.!In!this!chapter!I!offer!several!statements!by!the!artists!and! theoreticians!who!constituted!the!Russian/Soviet!avantRgarde!for!whom!the!icon! tradition!was!important!including!Kazimir!Malevich,!Vladimir!Tatlin!and!Vladimir! Markov,!all!of!whom!renounced!the!use!of!the!central!perspective.!I!subsequently! elaborate!to!discuss!contemporary!artists!whose!interest!in!perspective!and!spatial! thinking!resonates!with!my!own!work,!such!as!Donald!Judd,!Elizabeth!Murray,!Felice! Varini!and!George!Rousse.!! ‘Chapter!Three:!Mutative!Perspective!as!My!Tool’,!is!dedicated!to!my!own!concept!of!the! Mutative!Perspective,!and!how!I,!through!the!development!of!my!research,!have! formulated!a!novel!spatial!system.!I!explain!the!infiltrated!and!distorted!perspective!and! as!well!the!idea!of!dissolving!threeRdimensional!space!into!two!dimensions.!In!short,! infiltrated!perspective!is!when!rational!perspective!breaks!down!into!fragments!that! incorporate!multiplicity.!I!consider!the!precursors!to!infiltrated!perspective!and! investigate!the!use!of!negative!shapes!in!works!by!early!modern!artists,!focusing!on!Paul! Cezanne!and!later!Modernists!such!as!Sam!Frances!and!Lucio!Fontana.!! ! 18 I!propose!that!mutative!perspective!captures!distortions!and!infiltrations!of!our!time.! Investigating!distorted!perspective!and!applying!reverse!perspective!led!me!to!stop! using!small!format!rectangular!canvas!paintings!hung!inside!Spatial!Paintings.!Trying!to! find!a!solution!for!combining!wallRfloorRceiling!painting!with!paintings!on!canvas!led!me! to!build!stretchers!for!paintings.!These!are!my!oviform!paintings:!shaped!canvases!that! are!labour!intensive!to!produce!and!function!within!the!Spatial!Painting!as!defined! forms.!The!chapter!concludes!with!an!examination!of!the!artists!who!could!be! recognized!as!belonging!to!PostRconceptual!abstraction,!a!term!British!art!historian! Peter!Osborn!used!to!describe!abstract!paintings!of!the!1990s.!I!also!situate!my!work!in! this!context!and!identify!differences!and!similarities!with!artists!such!as!Michel!Majerus,! Franz!Ackermann!and!Milovan!Destil!Markovic.! In!‘Chapter!Four:!Radiationscapes’!18,!I!primarily!discuss!my!research!into!contaminated! landscapes.!I!introduce!works!dealing!with!a!mutated!or!damaged!natural!environment,! which!Bojana!Pejic!first!identified!as!‘landscapes’.19!I!discuss!the!medium!of!landscape! and!paintings!representing!a!particular!natural!wonder:!the!rainbow.!In!my!thesis!the! rainbow!stands!for!a!visual!sensation!which!is!layering!the!two!dimensional!vision!of!the! rainbow!above!the!three!dimensional!depth!of!the!landscape.!! I!subsequently!situate!my!works!in!the!historical!context,!including!my!paintings’! relation!to!nature!in!‘biomorphic!abstraction’!–!a!term!coined!by!Alfred!H.!Barr.!Through! the!‘Atomic!Sublime’,!an!essay!by!Peter!B.!Hales,!and!the!reactions!of!painters!such!as! Jackson!Pollock,!Lucio!Fontana!and!Wols!Tapies!to!the!Atomic!Bomb,!I!introduce!my! own!works,!which!deal!with!the!invisible!pollution!of!our!age.!I!then!explain!the!origin! and!purpose!of!the!narrative!moment!in!my!works,!found!through!overRpainting! postcards!and!adding!text,!which!subsequently!led!to!the!use!of!texts!or!verbal! supplements!embedded!in!my!current!Spatial!Paintings.!! I!continue!writing!about!the!political!content!of!my!Radiationscapes,!which!visualizes! the!invisible!silent!genocide!that!occurs!when!communities!and!countries!are!exposed!to! this!hidden!hazard:!radiation.!Closing!this!chapter!I!consider!the!concept!of!affect!and! draw!on!the!work!of!art!historian!and!critical!theorist!Susan!Best,!to!place!my!visual! research!outcomes!within!contemporary!artRhistorical!discourse.!! ' ' !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 18!radiation!scape!was!the!title!of!my!exhibition!at!Krohne!Art!Collection!in!Duisburg,!Germany!2014.! 19!Bojana!Pejić,!“The!Day!Before!Tomorrow,”!in!Claudia!Chaseling!–!Spatial!Painting!(Berlin,!Germany:!ed.! Benedikt!Stegmayer,!Verlag!für!zeitgenössische!Kunst!und!Theorie,!2016),!p.!9.!! ! ! 19 CHAPTER'ONE:'THE'PRACTICE'OF'SPATIAL'PAINTING'' ! Form!and!Content!approached!each!other!on!the!infinite!line,!travelling!fast.!“Where!are! you!going?”!asked!Content!of!Form.!‘To!the!end!of!the!line,’!answered!Form,!‘away!from! you.’!‘So!am!I,’!said!Content.!Then!they!collided.! Douglas!Davis!20! This!chapter!deals!with!my!Spatial!Painting!practice,!my!artistic!intentions!and!my! working!method.!Spatial!Painting!reaches!beyond!the!canvas!and!is!simultaneously! political!and!abstract.!Focusing!on!that!visual!power!of!the!painting,!recognizable!shapes,! speech!bubbles!and!video!links!lead!to!the!content!that!I!want!to!communicate!to!the! viewer.'As!a!term,!‘Spatial’!refers!to!the!space!becoming!part!of!the!painting’s! composition.! ! Fig.!7:!9!out!of!10,!2016,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!330!x!400!x!340!cm! ! My!principle!aim!has!been!to!investigate!the!paradox!between!painting!abstract!forms! and!the!communication!of!a!clear!social!message!via!the!pictorial!surface.!Hermann! Nitsch’s!work!has!been!an!invaluable!source!for!this!bridging!of!content!and!form.! Hubert!Klocker!writes!about!the!Viennese!Actionism,!stating!that!the!artists!(Hermann! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 20!Davis,!Douglas,!’PostRModern!Form:!Stories!Real!and!Imagined/!Toward!a!Theory’,!Artculture,!Essays!on! the!PostFModern!(New!York:!Icon!Editions,!Harper!&!Row!Publishers!USA,!1977),!p.155.! ! 20 Nitsch,!Gunter!Brus,!Otto!Mühl,!and!Rudolf!Schwazkogler)!‘never!totally!abandoned!the! representative!object.!On!the!contrary,!they!were!concerned!with!giving!back!to!the! work!of!art,!be!it!painting!or!object,!the!narrative!potential!of!the!text!which!had!been! lost!to!abstraction.’21!I!have!oscillated!between!figuration!and!abstraction!–!erasing!the! recognizable!forms!–!and!have!ended!at!the!point!at!which!I!began:!with!abstract!forms! that!have!been!developed!from!a!consideration!of!precise!topics.!I!started!to!question! whether!it!is!possible!for!the!viewer!to!read!abstraction!in!painting!in!conjunction!with!a! narrative,!for!example!a!text,!a!graphic!novel!or!even!narratives!implicit!in!photographs.!! I!have!considered!how!placing!a!text,!a!graphic!novel!or!photographs!containing!a! specific!narrative!either!within!or!near!the!painting!can!allow!the!audience!to!decode!the! content!of!the!work.!However,!can!the!dynamic!of!the!painted!abstract!transmit!an!exact! message?!In!other!words,!do!my!Spatial!Paintings!need!such!elements!in!close!proximity! or!should!I!incorporate!them!inside!the!painting!itself?!Are!there!alternative!methods! that!could!add!information!to!the!abstract!painting,!which!will!direct!the!viewer!to!an! understanding!of!the!painting!–!to!help!transmit!content!beyond!the!formal!aspect!of!the! work?!! This!chapter’s!opening!section!addressed!one!of!my!exhibitions!and!how!I!included!the! work!Murphy!–!A!Parallel!Universe!within!a!Spatial!Painting.!I!will!go!onto!discuss!the! specific!content!of!this!work,!why!I!decided!to!make!it!and!what!I!discovered!in!the! process.! ! Murphy'–'A'Parallel'Universe' ! The!original!plan!of!my!PhD!research!was!to!focus!solely!on!demonstrating!that! paintings!can!override!the!physical!reality!of!the!painting!support.!But!when!analysing! my!working!process!I!came!to!understand!that!a!narrative!underpins!each!and!every! one:!this!is!what!drives!my!need!to!paint.!! ! ! Fig.!8!and!9:!Murphy!the!mutant!(page!1!and!2!of!68),!2013,!watercolour!and!pens!on!paper,!15!x!21!cm! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 21!Hubert!Klocker,!‘Gesture!and!Object!R!Liberation!as!Action:!A!European!Component!of!Performance!Art,’! in!Out!of!Action!–!Between!Performance!and!the!Object,!1949F1979,!ed.!Paul!Schimmel,!exh.!cat.!(Los!Angeles:! Museum!of!Contemporary!Art,!and!Vienna:!Museum!of!Applied!Arts,!1998),!p.!175.! ! ! 21 As!I!explored!this!further,!I!drew!and!painted!a!graphic!novel!called!Murphy!the! mutant.22!By!2005,!I!had!reached!a!point!in!my!work!where!I!was!unable!to!express!and! comment!on!specific!socioRpolitical!events!in!my!canvas!paintings!in!a!way!that!could!be! accessible.!Reading!and!researching!particular!events!touched!me!deeply!and!I!had!to! somehow!address!this!information!in!my!work.!This!had!become!an!increasingly! important!challenge!since!2005,!when!I!watched!a!documentary!on!the!damages!that! depleted!uranium!weapons!cause.!This!documentary!has!since!had!an!enduring! influence!on!my!work.!23! In!my!utopian!story,!told!in!the!form!of!a!graphic!novel,!I!made!disadvantaged!creatures! –!such!as!my!protagonist!Murphy!–!the!ones!who!would!survive!in!the!future!because! they!are!immune!to!radioactive!contamination.!This!graphic!novel!became!the!anchor!of! my!work!to!follow.!It!made!me!aware!of!the!driving!force!of!my!paintings:!to! communicate!political!issues.!This!was!the!first!time!that!I!started!a!series!of!works!with! the!story!itself,!and!not!with!abstraction.!! The!first!chapter!of!Murphy!the!mutant!comprises!seventeen!watercolour!drawings.!I! produced!these!during!a!creative!outpouring,!which!was,!at!that!stage,!a!singular!event! running!in!parallel!to!my!studio!practice.!The!second!chapter!consists!of!32!watercolour! drawings!and!was!completed!in!2013.!I!drew!the!graphic!novel!again!in!parallel!with!my! canvas!painting!practice,!but!in!the!following!years,!comicRlike!elements!became!merged! with!my!paintings!and!were!an!increasingly!dominant!part!of!each!work.!While!I!rarely! personally!read!comics!or!graphic!novels,!it!satisfied!me!that!I!could!tell!such!a!story!in! pictures:!a!story!that!communicates!war!crimes!and!radioactive!contaminations!that! only!few!people!in!the!western!world!notice!and!which!the!media!mostly!ignores.!! I!first!encountered!the!danger!of!nuclear!radiation!in!1986!as!a!child!living!in!Munich! when!the!nuclear!reactor!in!Chernobyl,!Ukraine,!caught!fire!and!radioactive!material! was!released!into!the!environment.!It!was!carried!by!the!wind!over!much!of!Europe.! This!incident!highlighted!the!very!real!health!risks!that!radioactive!contamination!can! cause.!When!I!saw!the!documentary!from!Frieder!Wagner,!mentioned!in!the! introduction!to!this!thesis,!I!learned!that!some!countries!are!still!using!radioactive! munitions!in!the!form!of!depleted!uranium!weapons,!though!their!toxicity!is!officially! denied.24!!As!such,!the!abuse!of!depleted!uranium!weapons!became!a!central!point!of! focus!for!my!interest!in!our!contemporary!environment.!In!her!article!about!my!work,! art!historian!Bojana!Pejic!eloquently!describes!my!approach!to!the!environment!and! captures!my!intentions:! ‘Chaseling!does!not!critically!respond!to!general!problematics!of!postRNature,! the!galloping!climate!disaster,!and!the!exhausted!urban!landscape!central!to! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 22!I!had!created!the!character!Murphy!the!mutant!in!2011!and!drew!and!coloured!this!graphic!novel!over!the! next!years.! 23!Der!Arzt!und!die!verstrahlten!Kinder!von!Basra,!by!Prof.!Dr.!Dr.!Siegfried!Horst!Günther,!accessed!between! 2005!–!July!2015,!Directed!by!Frieder!Wagner!about!Prof.!Dr.!Dr.!Siegwart!H.!Guenther!and!his!research,!the! 92Rminute!film!follows!over!years!Siegwart!Guenther!who!devoted!himself!to!proving!the!impact!of! depleted!uranium.!The!use!of!depleted!uranium!warheads!in!most!conflict!zones!today!is!one!of!the!worst! radioactive!pollutions!on!earth.!https:!https://www.youtube.com/watch?v=ERmabAyg4X0!or! https://www.youtube.com/watch?v=YwrFRqZKqUw!! 24!Frieder!Wagner,!Deadly!Dust!–!Depleted!Uranium,!Documentary!1:32:27,!2007,!Minutes!14:45!R!accessed! January!28,!2019!https://www.youtube.com/watch?v=djv8UyrrC34! ! 22 environmental!activism!of!our!days.!Her!landscapes,!as!a!title!of!her!exhibition!of! 2015!indicates,!are!Radiation!Scapes.!In!these!works,!but!also!in!Spatial!Painting! in!general,!her!procedure!could!be!perhaps!best!described!as!the!“inscriptions!of! the!invisible.”!The!pieces!like!cloud!and!omen,!or!paintings!mutant!2,!mutating! tomatoes,!orange!mutant,!for!example,!and!particularly!in!her!dystopian!graphic! novels!narrating!the!adventures!of!her!little!scienceRfiction!hero,!Murphy!the! Mutant,!display!views!of!damaged!or!rather!mutated!nature,!adultered!by!the! radioactive!fallout!resulting!in!dust!circulating!in!the!atmosphere!but!remaining! undetectable!by!the!human!eye.!She!is!concerned!with!the!invisible!effects! produced!by!the!harmful!longRterm!radiation,!felt!particularly!in!the!postRwar! regions!in!which!the!role!of!science!was!used!in!the!service!of!warfare:!as!an! abstract!artist,!she!is!making!these!effects!visible.’25! There!are!limitations!to!the!possibilities!of!painting!being!a!medium!that!can! communicate!exact!messages,!but!the!advantage!of!painting!is!the!ability!to!evoke! emotions!and!this!can!initiate!in!the!viewer!a!search!for!inherent!content!and!meaning.! In!the!following!subRchapter!I!explain!how!the!content!that!I!first!defined!and!sketched! out!in!this!graphic!novel!subsequently!directed!my!painting!process.!! ! Fig.!10:!mutant!2,!2014,!egg!tempera!and!oil!on!canvas,!264!x!143!cm! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 25!Bojana!Pejic,!‘The!Day!Before!Tomorrow,’!in!Claudia!Chaseling!–!Spatial!Painting!(Berlin:!ed.!Benedikt! Stegmayer,!Verlag!fuer!zeitgenössische!Kunst!und!Theorie,!2016)!p.11.! ! ! 23 Content,'Abstraction'and'Space' ! In!the!first!year!of!my!PhD!research,!I!finalized!the!second!part!of!another!graphic!novel! –!I!titled!it!Murphy!and!his!shadow.!Both!stories,!Murphy!the!mutant!and!Murphy!and!his! shadow,!are!set!in!the!future!with!the!hindsight!of!what!is!happening!in!our!present!day.! Murphy!is!a!child!born!with!deformities!in!a!region!where!radioactive!depleted!uranium! weapons!were!used!prior!to!his!birth!(in!Iraq’s!city!of!Basra).!Immune!to!radioactivity,! Murphy!is!one!of!several!survivors!from!a!third!World!War.!Experiencing!different! adventures,!Murphy!slowly!understands!the!context!in!which!he!was!born.!As!such,! Murphy,!for!me,!is!a!symbol!of!survival!and!consolation.!! These!stories!of!Murphy!are!interlinked!with!my!abstract!painting!practice.!My!paintings! changed!from!looking!at!space!and!trying!to!visualize!the!invisible!–!the!dynamic! movement!in!the!landscape!–!to!trying!also!to!visualize!the!concealed!destruction!that! these!radioactive!munitions!cause.!Such!weapons!are!now!used!in!nearly!every!conflict! zone!on!Earth.!The!radioactive!dust!from!the!exploded!weapons!can!be!found!in!water,! sand!and!the!air!and!is!quickly!distributed!over!borders!into!neighbouring!countries.26! Therefore,!I!began!to!consider!how!I!might!discuss!these!facts!on!a!larger!platform! through!my!paintings!and,!as!such,!communicate!the!significance!of!this!issue!to!the! world.!! At!this!stage,!I!had!two!strands!of!work!within!my!practice:!small!figurative!drawings! and!largeRscale!paintings!on!canvas,!walls,!floors!ceilings!and!concrete!objects.!I!also! made!a!video!of!my!graphic!novel,!in!which!I!show!and!describe!the!drawings;!you!can! see!my!fingers!turning!the!pages!as!I!tell!the!story.!I!deduced!that,!in!this!way,!each! drawing!would!get!its!full!exposure!and!makes!sense.!The!sound!in!the!video!is!simply! my!voice:!it!is!perhaps!comparable!to!a!narrator!describing!a!fairy!tale.27! ! Fig.!11:!Murphy!the!mutant,!2013,!Video,!14!minutes! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 26!Daud!Miraki!Mohammed,!Afghanistan!after!“Democracy”!(Philadelphia:!2006),!pp.!19R23.! 27!Chaseling,!Claudia,!Murphy!the!mutant,!since!June!2013!on! http://www.youtube.com/watch?v=Xqcr1Ev2FVc! ! 24 Subsequently,!I!wanted!to!consider!how!I!could!fuse!my!paintings!on!canvas!with!such! impactful!and!focused!storytelling?!In!other!words:!how!could!I!embed!this!narrative! within!my!Spatial!Painting!practice?!! ! SiteKMutative'Painting:'Redefining'Concepts'of'Pictorial'Space'' ! blender28!was!my!first!work!that!fused!my!graphic!novel!with!a!Spatial!Painting.!This! work!instigated!what!I!came!to!call!SiteRmutative!Painting!–!a!term!reflecting!the!key! aims!of!my!investigations.!The!painting!measured!3!x!12!x!6!metres:!upon!the!walls!I! hung!two!monitors!showing!both!parts!of!the!graphic!novel.!The!abstract!painting! highlighted!and!reflected!forms!within!the!graphic!novel:!for!example,!both!mutated!and! normal!forms!of!human!DNA.29!In!this!way,!the!work!was!not!just!an!abstract! composition,!but!directly!reflected!the!subject!matter!by!using!the!shape!of!damaged! chromosomes.!As!such,!I!decided!to!give!this!narrative!a!stronger!presence!within!the! work,!lending!it!the!same!value!as!the!abstraction.!! ! Fig.!12:!blender,!2013,!egg!tempera!and!video!monitors!on!wall!and!floor!360!cm!x!1200!cm!x!600!cm,! XRBorder!Biennial,!Museum!Valo,!Rovaniemi,!Finland! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 28!blender!was!exhibited!at!the!XRBorder!Biennial!in!Rovaniemi,!Finland!in!2013.! 29!The!DNA!tests!were!first!used!in!criminological!investigations!in!1986.!I!visited!the!biological!Department! at!the!ANU!and!met!with!Prof.!Susan!Howitt!to!discuss!cell!structures,!DNA!and!how!radiation!affects!cells! and!DNA.! ! 25 The!spatiality!of!my!work!does!not!necessitate!interactivity.!It!is!not!necessary!to!walk! into!the!painting,!but!it!is!possible.!Scale!is!a!deciding!issue:!the!Spatial!Painting!needs!to! be!larger!than!a!human!body,!so!the!body!gets!immersed!into!the!composition.!For!my! blender'I!chose!a!composition!so!that!visitors!could!walk!into!the!painting.!To!hear!the! audio!component!of!the!two!monitors!screening!the!graphic!novel,!visitors!needed!to! walk!up!close,!immersing!themselves!within!the!painting.!Each!part!of!the!graphic!novel! could!be!listened!to!without!hearing!sounds!from!the!other!monitor.!So!essentially!I! added!another!aspect!to!this!painting!through!the!screens!and!moving!image.!This! brought!the!abstract!painting!to!life!because!I!put!a!clear!message!into!the!visual! experience.!It!was!this!content!that!led!to!the!extension!of!the!formal!aspect!of!the! abstract!painting.! ! Fig.!13:!blender,!detail! After!I!showed!the!video!of!the!graphic!novel!to!the!artist!eX!de!Medici!she!described!the! importance!of!the!narrative!in!my!work:!! ‘…Then!came!Murphy.!The!Mutant.!A!shift!happened!in!the!work.!It!exploded.!It! exploded!out!of!the!frame!and!onto!the!floor!and!around!corners.!Murphy! becomes,!like!the!postcards,!the!codeRbreaker!to!a!politic!within!the!hyperR colour!and!spilling!action!of!the!paintings.!So!how!does!a!narrative,!a!fictional! character!who,!like!in!the!novelist’s!art,!takes!a!life!of!its!own?!Becomes.!Exists.! Murphy!exists!on!URTube30!for!anyone!to!see.!Murphy!the!mutant!lives!separately! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 30!Claudia!Chaseling,!Murphy!the!mutant,!https://www.youtube.com/watch?v=Xqcr1Ev2FVc! ! 26 from!the!paintings,!but!is!the!portal!by!which!the!secrets!within!the!abstraction! make!sense.!There!is!outrage!from!the!hand!that!draws!Murphy.’31! This!project!became!the!foundation!for!the!rest!of!my!research.!I!came!to!discover:! distorted!perspective,!dissolving!perspective,!and!infiltrating!perspective!–!all!ways!to! express!topics!that!are!relevant!to!our!time.!These!methods!formed!the!basis!for! developing!Mutative!Perspective!and!SiteRmutative!Painting.!SiteRmutative!Painting! bridges!formal!aspects!of!painting!with!the!expression!of!a!precise!subject!matter! though!abstract!means:!thus,!mind!and!form!melt.!My!Spatial!Paintings!can!adapt!to! every!possible!space.!The!space!is,!for!me,!like!a!piece!of!paper,!or!a!canvas!on!which!to! paint.!This!is!why!I!stepped!away!from!the!term!siteRspecific!in!relation!to!my!work.!The! paintings!alter!the!space!and!my!entire!aim!is!to!twist!it!to!complement!my!subject! matter!to!create!a!particular!impact.!The!space!is!merely!a!given!setting!–!a!random! stage,!so!to!speak.!My!work!is!about!what!I!turn!the!space!into.!As!such,!it!is!siteF mutative!painting.!A!static!wall!will!be!confused!with!floor,!ceiling!and!neighbouring! walls;!the!floor!can!open!up!and!the!most!distant!point!will!jump!into!the!foreground.!I! plan!the!concept!carefully!before!it!is!superimposed!onto!the!space!from!one!designated! viewpoint.!If!I!move!away!from!the!viewpoint!the!painting!will!loose!its!defined! structure!and!flatness!and!the!geometry!of!the!space!reRemerges.!Even!if!the!mutative! aspect!of!the!space!is!diminished!through!a!change!of!viewpoint!the!overall!energy!of! the!work!remains.!The!work!still!retains!its!character!as!a!Spatial!Painting.!! ! Fig.!14:!omen,!2014!,!aluminium!and!egg!tempera!on!wall,!floor!and!ceiling,!400!x!700!x!300!cm! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 31!eX!de!Medici,!Text!as!eRmail!message!sent!to!author,!March!16,!2015.!The!postcards!are!a!continuing!series! of!overRpainted!postcards!and!photos!of!places!I!have!been!to.!Painted!in!a!concentrated!and!meditative! manner,!a!text!accompanies!these!small!paintings!pointing!out!the!essence!of!a!particular!time!and!place.! ! ! 27 ! Fig.!15:!omen,!left!side!view! SiteRmutative!Painting!resulted!from!dismantling!central!perspective!and!using!the! reverse!form,!which!is!seen!in!Byzantine!Icon!paintings.!The!key!focus,!for!me,!is!to! capture!a!notion!of!the!instability!of!time.!My!Spatial!Paintings!create!a!rupture!with!the! conventional!Western!understanding!of!space.!Through!painting!I!aim!to!show!a!new! reality,!and!to!break!with!my!own!and!the!viewers’!conventional!experience!of!space.!My! contemporary!experience!is!one!of!uncertainty,!instability!and!ambiguity.!The!main! driver!for!this!sense!of!uncertainty!is!based!on!my!knowledge!of!onRgoing!radioactive! contaminations!and!the!resultant!environmental!and!health!effects!that!this!has!on!all! living!things.!! ! Fig.!16:!Hadzici,!2015,!aluminium,!egg!tempera!and!oil!on!canvas,!140!x!140!cm! ! 28 Linear!or!central!perspective!seems!to!me!like!a!rational!support!for!understanding!and! representing!space.!Central!perspective!is!still!used!in!contemporary!art,!particularly!in! media!such!as!figurative!painting,!photography!and!film,!even!when!artists!might!seem! to!challenge!this!premise.!For!example!David!Hockney’s!work!A!Bigger!Grand!Canyon! (1998),!deliberately!aims!to!interrupt!the!viewer’s!expectations!of!perspective.!He! achieves!this!by!combining!multiple!images,!each!of!which!still!relies!on!central! perspective.!His!method!distorts!and!flattens!the!view!by!using!photographic!images!in! the!first!instance!and!then!combining!multiple!images.32!This!is!only!one!approach! among!numerous!means!of!defining!and!understanding!space.'Looking!at!preR Renaissance!painting,!it!is!clear!that!there!were!different!priorities!for!these!artists! other!than!realistically!representing!an!image.!The!compositions!of!preRRenaissance! paintings!(examples!of!which!will!be!discussed!in!Chapter!2!of!this!thesis)!are!primarily! concerned!with!conveying!narrative!through!a!hierarchy!based!on!size!and!imagery,! which!are!arranged!to!support!such!a!narrative.! Instead!of!relying!on!geometry!to!create!the!illusion!of!space,!I!used!several!canvases! and!created!ninetyRdegree!angles!between!these!by!leaning!them!on!the!walls!and!floor.! So!by!connecting!the!canvasses!I!introduced!threeRdimensional!space!to!the!paintings.! The!painting!then!distorts!this!real!three–dimensional!space.!! ! Fig.!17:!this!is!all,!2013,!egg!tempera!and!oil!on!canvas,!250!x!170!x!320!cm! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 32!Jane!Kinsman,!David!Hockney,!A!Bigger!Grand!Canyon,!1998,!oil!on!60!canvasses,!207!x!744,20!cm,!Text! for!the!National!Gallery!of!Australia,!see:!https://artsearch.nga.gov.au/detail.cfm?irn=20923,!accessed! March!2018.! ! 29 ! Fig.!18:!black!swan,!2017,!aluminium,!egg!tempera!and!oil!on!canvas,!250!x!170!x!220!cm! After!the!completion!of!blender,!I!continued!to!develop!the!technique!of!my!Spatial! Painting.!FineRtuning!the!siteRmutative!aspect!required!careful!study!of!perspective! techniques.!The!starting!point!for!the!realization!of!a!SiteRmutative!Painting!is!an! architectural!space.!The!first!step!is!to!delineate!the!room!in!which!the!piece!will!be! installed!and!to!view!this!as!a!flat!plane!rather!than!a!threeRdimensional!space.!On!each! draft!on!paper!I!start!with!the!geometric!outlines!of!the!space,!sketching!just!a!few!lines! on!a!white!surface.!By!using!the!word!‘flat’!I!mean!that!I!ignore!the!corners!of!the!space! and!create!my!composition!as!if!the!painting!itself!were!being!prepared!for!a!flat!surface.! This!process!will!often!take!months!and!by!producing!up!to!twenty!drafts!the! complexity!of!the!painting!grows.!I!sketch!in!where!possible!canvas!paintings!could!be! placed,!or!objects!–!whatever!I!need!to!communicate!my!subject!matter.!! Sometimes!the!Spatial!Paintings!simply!comprise!pigment,!egg!tempera!and!aluminium! placed!upon!the!wall,!floor!and!ceiling.!This!is!the!case!in!a!work!such!as!omen,!for! example.!! ! 30 ! Fig.!19:!omen!draft,!2014,!watercolour!and!pencils!on!paper,!42!x!59!cm! When!converting!the!work!from!my!plans!during!the!installing!period,!I!decide!on!the! viewpoint!and!mark!it!out!on!the!floor!of!the!actual!space.!I!then!compose!the!whole! work,!so!that!from!this!point!the!threeRdimensional!painting!in!the!space!will!seem!flat,! just!as!planned!in!the!draft.!Then!follows!a!concentrated!period!of!drawing!the! composition!with!chalk!onto!the!walls!and,!and!with!a!window!marker!onto!the!floor.!I! continually!step!back!and!forth,!from!my!single!viewpoint!and!the!walls!themselves,!to! find!the!exact!lines!and!form!that!reproduce!my!draft!–!finding!the!correct!lines!that! flatten!the!space,!dissolving!threeRdimensionality.!It!often!times!surprises!me!how!much! it!matters!if!a!line!is!1!cm!further!left!or!right!than!planned,!this!can!negatively!impact! my!desired!dynamic.!During!the!making!process!I!continually!wipe!away,!draw!anew,! wipe!away!and!so!on!until!I!finally!find!the!lines!that!make!the!space!itself!change!and! shift!into!something!new,!–!as!if!it!would!lift!of!the!ground,!tip!into!one!corner!or!create! some!other!particular!motion.!After!painting!the!colours!into!the!dynamic!composition,! the!space!seem!flat!from!one!designated!viewpoint.!! ! 31 ! Fig.!20:!setting!up!omen,!2014,!68!projects,!Berlin! ' Mutative(Perspective( ! In!the!Spatial!Paintings!I!apply!reverse!and!parallel!perspectives,!a!representation!of! space!I!researched!in!Byzantine!icon!painting.!In!doing!so,!I!negate!the!central! perspective.!! The!Renaissance!perspective!of!realism!enabled!the!artists!to!create!on!a!flat!surface!an! illusion!of!threeRdimensional!depth.!My!aim!is!the!opposite:!to!flatten!a!threeR dimensional!space!and!to!erase!linear!perspective.!In!his!book!Ways!of!Seeing,!John! Berger!summarizes!the!visual!effects!produced!by!central!perspective:! The!convention!of!perspective,!which!is!unique!to!European!art!and!which!was! first!established!in!the!early!Renaissance,!centers!everything!on!the!eye!of!the! beholder.!It!is!like!a!beam!from!a!lighthouse!–!only!instead!of!light!travelling! outwards,!appearances!travel!in.!The!convention!called!those!appearances! reality.!Perspective!makes!the!single!eye!the!center!of!the!visible!world.! Everything!converges!on!to!the!eye!as!the!vanishing!point!of!infinity.!The!visible! world!is!arranged!for!the!spectator!as!the!universe!was!once!thought!to!be! arranged!for!God.33! In!the!watercolour!drafts!that!I!create!before!realising!my!final!paintings,!I!develop!the! composition!avoiding!central!perspective;!I!use!composition!to!suggest!the!content! matter!of!the!Spatial!Painting.!Then!I!transfer!these!systems!onto!the!walls,!floors!and! ceilings.!My!concept!is!that!painted!shapes!close!to!the!main!viewpoint!need!to!be! narrower!than!what!lies!further!away!from!this!viewpoint,!on!the!wall.!In!this!way!I! reverse!central!perspective.!This!technique!works!for!all!shapes!and!the!result!is!that! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 33!John!Berger,!The!Ways!of!Seeing!(London:!British!Broadcasting!Corporation!and!Penguin!Books,!1972),!! p.!16.!Italics!in!original.! ! 32 the!structure!painted!on!the!wall!is!optically!moving!towards!the!observer!who!is! standing!at!my!designated!viewpoint.!! It!is!necessary!for!me!to!calculate!this!compositional!narrowing!so!that!the!distance! always!appears!larger!than!the!foreground.!This!system!also!applies!to!parallel! perspective.!The!foreground!shapes!are!then,!essentially,!a!similar!size!to!the!ones!in!the! distance.!As!such,!parallel!and!reverse!perspectives!are!the!basic!tools!that!I!use!to!alter! the!reality!of!the!spatial!dimensions.!! I!decided!not!to!research!optics!and!visual!manipulation,!because!my!work!is!not!about! the!use!of!technology!that!might!be!used!to!trick!our!vision.!I!use!the!threeRdimensional! space!in!the!same!way!that!I!would!use!a!canvas.!In!the!long!preparation!process!of!the! watercolour!drafts!I!define!how!I!need!to!transform!the!space!in!order!to!indicate!the! subject!matter.!Each!Spatial!Painting!has!its!content!and!an!atmosphere!that!reflects!this.! I!define!a!composition!in!the!space!in!the!same!way!that!all!paintings!create!a! composition!upon!a!flat!surface:!I!use!curves,!spirals,!zigzags!and!innumerable!other! forms.!It!evolves!through!the!integration!of!different!forms.!Through!painting!I! overwrite!the!physical!geometry!and!create!a!new!environment,!enlivened!by!the! content!I!aim!to!transmit.!! ! Fig.!21:!mutating!tomatoes,!2013,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!! 350!x!400!x!500!cm' In!the!Spatial!Painting!mutating!tomatoes!my!aim!was!to!erase!the!corners!of!the!space,! between!floor!and!wall!and!to!create!a!movement!upwards!from!deep!down!in!the!floor! –!as!if!this!was!a!void.!I!reached!this!energetic!configuration!through!a!large!pink!form! spreading!over!the!wall!and!reflecting!in!the!aluminium!shapes!on!the!floor.!The!pink! form!spread!out!more!and!more!as!it!climbed!the!wall.!The!piece!also!included!a!canvas! ! 33 painting,!where!the!pink!colour!was!concentrated!using!many!shades!and!layers.!My! original!guide!for!the!pink!shape!was!a!picture!of!mutated!tomatoes,!which!grew!near! the!site!of!the!Fukushima!Daiichi!Nuclear!Power!plant!in!Okuma,!Fukushima!Prefecture! two!years!after!the!nuclear!disaster!in!2011.!! ! Fig.!22:!mutating!tomatoes!draft,!2013,!watercolour!and!pencil!on!paper,!17!x!24!cm' While!linear!perspective!is!not!being!utilized!in!my!paintings!to!define!a!hierarchy!of! importance,!as!it!was!in!Byzantine!painting,!I!draw!on!such!techniques!to!enable!the! reading!of!space.!Depth!in!many!Byzantine!painting!was!created!out!of!colour!and!also! by!using!light!sources!(from!church!windows!or!lit!candles)!that!existed!in!the!given! architectural!environment.!It!was!the!viewer’s!knowledge!and!experience!that! completed!the!painting!–!in!most!historic!cases!knowledge!of!religious!narratives.34!! ! Fig.!23:!time!machine,!2012,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!350!x!220!x!1000!cm' !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 34!See:!Otto!Demus,!Byzantine!Mosaic!Decoration!(Boston:!Boston!Book!&!Art!Shop,!1955)! ! 34 A!void!painted!in!Cadmium!yellow!as!in!the!image!on!the!previous!page!33,!or!in!Milori! blue!can!be!optically!deeper!than!the!light!sky!blue!that!for!example!Andrea!Mantegna! used.!I!address!Mantegna's!work!later!in!the!chapter!Depth!on!Working!Surface!(p.39R 40)!and!the!colour!Milori!blue!in!the!chapter!Depth!in!my!Paintings!and!the!Language!of! Colour!(p.44R51).!We!relate!sky!blue!with!the!infinite!sky!that!we!know!–!we!use!our! knowledge.!However,!for!my!Spatial!Paintings!I!use!a!oneRpoint!view!not!to!mimic! nature!but!to!flatten!the!space!and!to!create!a!new!environment.!! ! Fig.!24:!time!machine!draft,!2012,!watercolour!and!pencil!on!paper,!20!x!20!cm' I!have!a!personal!artistic!relationship!to!the!threeRdimensional!space!used!in!my!works! where!I!must!imagine!it!to!be!optically!flat!during!the!painting!period.!Only!in!this!way! can!I!can!be!in!charge!of!my!composition!and!reach!my!conceptual!aims.!Intuition!pays! its!part!in!the!process!but!the!idea!is!drafted!entirely!twoRdimensionally.!My! compositions!do!not!try!to!be!anything!taken!from!the!world!that!we!see;!they!do!not!try! to!resemble!the!visible!world.!Mine!is!a!new!environment.!I!take!forms!that!I!see!and!use! them!in!my!work.!However,!the!resulting!Spatial!Painting!is!never!a!copy,!a!place!or! thing.!The!resulting!painting!only!relates!to!places!in!a!conceptual!sense,!which!might!be! felt!by!the!viewer.!I!will!go!onto!explain!my!reasons!for!employing!this!mutative! perspective.!! Standing!in!a!landscape,!the!foreground!is!at!your!feet!and!the!distance!narrows!down! and!disappears!into!infinity.!We!call!this!perspective;!a!word!that!originates!in!the!Latin! meaning!‘seeing!through’!(from!the!verb!perspicere,!from!perF!‘through’!and!specere!‘to! look’).35!For!me,!however,!it!has!always!seemed!that!the!point!furthest!away!in!a! landscape!is!larger!than!what!lies!closest!to!me.!Optically!this!is!contrary!to!the! principles!of!central!perspective!in!painting.!Imagine!a!stone!lying!in!front!of!your!feet:!it! is!small!and!you!see!it!in!detail.!When!looking!into!the!distance,!for!example!over!a!bay,! the!horizon,!the!large!area!with!water!and!maybe!land!on!the!opposite!shore!is!a!large! mass!of!volume.!This!distant!volume!is!more!prominent!than!the!tiny!details!closer!to! me.!Therefore,!I!try!to!paint!the!distance!larger!than!the!closeness.!! Practically!I!paint!shapes,!the!closer!they!are!to!my!view!or!composition!point!the! smaller!they!are.!The!shapes!further!away!I!paint!wider!and!larger.!The!optical!result!is! that!the!shapes!in!the!distance!appear!to!move!closer!to!you!–!they!even!jump!out!at!you.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 35!See:!Oxford!Dictionary,!https://en.oxforddictionaries.com/definition/perspective! ! 35 My'Field'Research:'Encounter'with'the'Byzantine'Icon'Tradition' ! In!the!early!1990s!I!became!familiar!with!the!writings!by!Russian!philosopher!Pavel! Florensky!who!in!the!course!of!the!1920s!extensively!wrote!about!icon!painting!and! reverse!perspective.!(I!will!discuss!his!theoretical!work!in!Chapter!2).!During!my!field! research!in!2015,!during!which!time!I!visited!monasteries!in!Serbia!and!Kosovo,!the! perspective!used!in!icon!paintings!intrigued!me.!I!became!interested!in!how!the! perspective!was!applied!in!these!twoRdimensional!icon!paintings!when!they!were!placed! in!the!threeRdimensional!architectural!settings!–!frescoes!in!the!Byzantine!churches.!I! examined!these!paintings!as!a!means!of!investigating!how!the!painters!active!during!the! Byzantine!Empire!dealt!with!the!flat!twoRdimensional!surface!in!threeRdimensional! architecture.!! ! Fig.!25:!Studenica!Monastery!(Twelfth!Century),!Serbia,!2015' I!wanted!to!investigate!how!the!architectural!geometry!of!the!church!was!transformed! into,!or!rather,!became!merged!with!the!picture!plane,!and!simultaneously,!how!space! was!depicted!within!a!single!fresco!painting.!What!perspective!did!the!painters!use;! from!which!point!were!they!looking!at!the!painting!and,!furthermore,!what!role!did! threeRdimensionality!play!in!these!paintings,!if!any!at!all?!My!empirical!researches!led! me!to!these!monasteries,!which!dated!from!the!tenth!to!the!fifteenth!centuries.!Many!of! these!old!monasteries!have!been!destroyed!by!time!and!war!conflicts!occurring!in!the! Ottoman!age!and,!even!recently,!during!and!after!the!postRYugoslav!wars!of!the!1990s.! The!interiors!had!been!painted!and!remarkably!well!preserved!–!often!the!frescoes!had! been!restored.!Expanding!from!the!ceiling!over!the!walls!and!down,!directly!to!the!floor,! these!paintings!are!usually!composed!from!the!cupola!spiralling!towards!the!ground!and! from!east!to!west.!! ! 36 My!fieldwork!included!investigating!how!perspective!appears!from!different!angles!in! these!large!church!buildings.!Through!drawing!the!structure!and!compositions!of!the! frescoes!I!studied!how!the!paintings!were!constructed!and!if!the!observer’s!view!was! calculated!and!preRempted!by!the!artist.!If!yes,!I!wanted!to!decipher!from!which! viewpoint!the!artist!wanted!the!viewer!to!stand.!I!studied!the!painted!geometric!forms,! houses,!halos!and!continuing!lines!to!understand!the!perspective!used.!Visiting!these! churches!I!began!drawing!the!architecture!and!the!frescos!trying!to!see!every!angle!used! in!the!painting.!I!strived!to!understand!how!the!concept!of!space!was!applied!to!the! frescos!and!how!the!space!of!the!architecture!itself!had!been!used.!My!focus!was!entirely! on!the!interaction!between!the!building’s!geometry!and!the!painting.! ! ! ! ! ! ! ! 37 ! ! Fig.!26!R!34:!drawings!made!whilst!my!field!trip!to:!Arilje!Monastery,!Decani!Monastery,!Patriarch!of!Pec! Monastery,!Ravanica!Monastery!and!Zica!Monastery!in!Serbia!and!Kosovo,!2015! The!conclusion!of!my!field!research!has!been!that!the!older!murals!in!monasteries!are! more!abstractly!reduced.!The!focus!seems!to!have!been!the!meaning!and!emotional! charge!of!the!painted!scene.!The!corners!of!the!building!were!not!particularly!integrated! into!the!paintings!and!I!would!call!it!an!immediate!and!direct!approach,!painting!the! subject!as!it!would!have!been!painting!on!a!flat!wooden!Icon.!The!church!structure! determined!the!placement!and!the!size!of!the!frescoes.!The!perspectives!in!the!painted! scenes!of!the!frescos!were!reduced!–!reverse!or!parallel!–!serving!the!meaning!of!the! image.!! The!later!frescoes!from!the!twelfth!century!onwards!show!more!detail!and!an!interest!in! painting!volume.!With!incredible!aesthetic!precision,!but!still!in!reduced!styles!of! Byzantine!painting,!the!compositions!were!placed!inside!the!architectural!forms.!The! corners!of!the!building!were!partially!optically!altered!by!the!composition!of!the! painting.!The!painting’s!perspective!serves!the!meaning:!they!deliver!a!core!message! and!shift!the!view!of!the!observer.!! For!me!these!frescoes!are!the!oldest!Spatial!Paintings.!Within!seemingly!strict!rules!the! painters!applied!an!individual!and!creative!approach.!I!did!not!see!one!Byzantine! painting!in!these!monasteries!that!felt!disassociated!from!the!architecture!–!architecture! and!painting!together!formed!an!environment.!These!very!old!frescoes!carry!a!magic!of! abstraction,!power,!and!generate!a!strong!atmosphere.!! Another!aspect!of!the!icons’!relevance!to!my!painting!practice!is!an!interaction!between! the!single!paintings,!which!are!often!combined!in!sequences!for!creating!a!narrative.!In! the!churches!the!icons!are!structured!in!sections!leading!from!top!to!bottom!and!from! east!to!west.!The!older!‘monumental!style’!of!fresco!painting!shows!prominent!large! icons!taking!over!most!parts!of!the!wall.!The!other!style!is!narrative!fresco!painting!in! which!the!icons!are!arranged!in!a!comic!strip,!surrounding!the!observer.!Both! techniques!are!relevant!for!my!work.!I!strive!for!the!presence!of!the!painting!as!a!centre! point!and!I!also!aim!to!embed!the!narrative!story.!! ! 38 ! Fig.!35:!Decani!Monastery,!Kosovo,!narrative!style!of!painting!frescos! ! ! ! Fig.!36:!Arilje!Monastery,!Serbia,!fresco!painted!with!reverse!perspective! ! ! ! ! 39 Depth'on'Working'Surface' ! I!elaborate!in!this!subchapter!on!how!colour!and!composition!can!alter!a!sense!of!space,! in!relation!to!my!painting!technique!upon!walls,!floors!and!ceilings!and!art!history.!In! her!influential!article,!‘The!Planar!dimension!1912R1932:!from!Surface!to!Space,’!Margit! Rowell!writes:!! ‘The!planar!Dimension!is!the!painter’s!Dimension.!Yet,!to!the!generations!which! came!of!age!in!the!1960s!and!1970s,!planar!is!synonymous!with!sculpture!and! planar!sculptures!with!one!aspect!of!modernism.![…]!Here!we!do!not!mean!a! plane!to!be!outer!surface!of!a!concave!volume,!the!result!of!the!process!of! hollowing!out!of!the!representational,!threeRdimensional!figure,!which!leaves!a! void.!In!this!context!we!are!referring!to!the!flat!picture!plane!used!as!a!twoR dimensional!environment!or!support.!It!exists!in!space!as!a!geometric!surface,! having!length!and!breadth!but!no!thickness.!In!painting!the!plane!is!an! abstraction,!a!translation!of!visual!images!into!conceptual!forms.’36! The!use!of!central!perspective!is!still!present!today!in!lots!of!contemporary!art.!I!aim!to! free!my!work!from!this!automatism.!Hubert!Damisch,!a!French!Philosopher!specialized! in!art!history!and!aesthetics,!and!whose!works!are!crucial!for!theory!of!visual! representations,!points!out!colour!as!a!medium!to!overwrite!central!perspective,!feeding! into!imaginary!spaces.37!This!awareness!drives!my!painting.!Essentially,!I!create!colour! space.!This!means!that!arranging!colour!can!generate!a!sensual!space;!depth!can!be!felt! and!experienced!through!eyes.! This!could!be!called!an!illusion!but!I!go!back!to!the!key!idea!of!the!physical!presence!of!a! painting!and!not!in!terms!of!depicted!visuals!that!can!be!understood!logically.!Illusion! always!relates!to!something!that!has!been!seen!to!exist!in!reality.!Abstract!art!cannot!be! illusionistic;!it!is!a!‘conceptual!form’!as!writes!Margit!Rowell.38!! German!literary!scholar!and!essayist!Karl!Heinz!Bohrer!mentions!two!different!ways!of! understanding!illusionism:!today,!he!says,!illusionism!would!rather!be!understood!as! clarification!of!the!reality.!He!continues!to!note!that!Ersnt!H.!Gombrich!saw!the! illusionary!qualities!of!a!painting!as!simulated!reality.!Opposed!to!this!idea,!several! scholars,!including!Wolfgang!Iser,!Eckhard!Lobsien,!W.J.T.!Mitchell,!Bernhard!Waldenfels,! Viktor!Sklovskij!and!Jurij!M.!Lotman!now!agree!that!art!is!defined!by!the!act!of! transgression.39!! I!always!thought!that!historical!ideas!of!illusion!were!bound!to!naturalism!with!the!aim! to!exaggerate!the!seen,!or!to!copy!its!original!volume!onto!something!flat.!Examples!for! my!understanding!of!illusionism!are!the!frescoes!by!Mantegna!in!Mantua!in!the!Palazzo! Ducale!di!Mantova!in!the!lateRfifteenth!century.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 36!Margit!Rowell,!‘The!Planar!Dimension!1912R1932:!from!Surface!to!Space,’!in!Planes:!The!Planar!Dimension! –Europe,!1912F1932!(New!York:!The!Solomon!Guggenheim!Foundation,!1979),!p.!9.! 37!Hubert!Damisch,!The!Origin!of!Perspective!(Cambridge,!MA!and!London:!The!MIT!Press,!1995),!p.!30.! Translated!from!the!French!original!of!1987!by!John!Goodman.! 38!Margit!Rowell,!‘The!Planar!Dimension!1912R1932:!from!Surface!to!Space,’!op.!cit.!p.!9.! 39!Karl!Heinz!Bohrer,!Ist!Kunst!Illusion?!(Munich,!Germany:!Carl!Hanser!Verlag,!2015),!p.!9.!Bohrer! undertakes!a!comprehensive!review!of!illusion!in!his!recent!work!and!refers!to!his!colleagues!and!earlier!art! historians!through!out!the!book.! ! 40 Embedded!in!the!analytical!linear!perspective!of!the!Renaissance!these!frescoes!picture! volumes!on!the!flat!surface.!I!don’t!call!my!painting!illusionary!because!my!overall!aim!is! to!create!an!atmosphere!using!abstraction.!My!wall,!floor!and!ceiling!paintings!are! composed!from!a!oneRpoint!view!like!the!Mantegna!frescoes.!The!source!of!the!motifs!is! a!direct!study!of!nature,!but!I!avoid!using!the!term!illusionary,!because!my!aims!are! somewhat!different.!The!reason!for!this!is!that!I!am!not!copying!anything!I!see;!in!my! painting!I!am!transforming!ideas,!thoughts!and!the!character!(nature!and!essence)!of! spaces,!places,!things!and!situations.! ! Fig.!37:!deer,!2014,!egg!tempera!and!oil!on!canvas,!265!x!143!cm! A!sense!of!depth!can!actually!be!created!on!the!surface!of!the!canvas!or!wall!through!the! intensity!of!pigments.!It!can!also!be!created!through!the!layering!of!paint,!using! translucent!shapes!or!lines.!I!first!adapted!a!particular!method!of!‘line!painting’!after!my! visit!to!the!Aboriginal!community!Yirrkala!in!1999.!Depth!in!painting!and!the!avoidance! of!central!perspective!are!prominent!in!crosshatched!paintings!in!northeast!Arnhem! Land.!Through!my!conversation!with!the!artist!Banduk!Marika!I!adapted!this!method!–! intuitively!at!first.!I!still!use!some!of!these!references!in!my!current!work;!the!intense! layering!of!lines!gives!a!feeling!of!depth!to!the!painting,!complicating!the!surface!plane.! Ultimately,!combining!this!with!colour!fields!of!pigments!results!in!a!strong!composition.!! ! 41 ! Fig.!38:!my!sketchbook!from!1999!with!photos!from!Yirrkala! During!this!visit!to!Yirrklala!40!and!speaking!with!the!artist!Banduk!Marika,!she!showed! me!her!paintings!–!dense!line!networks!using!yellow,!red,!ochre,!black!and!white! pigments.!The!painting!demonstrated!an!amazing!depth!and!movement!–!reminiscent!of! looking!at!the!Pacific!Ocean.!Thinking!about!this!painting,!I!became!confused!about!how! these!earthy!colours!could!embody!such!depth.!The!artist!explained!to!me!that!what!I! see!is!a!painting!of!water!and!the!infinite!skies!that!reflect!in!the!puddles!at!your!feet.! How!the!lines!and!colours!were!arranged!represented!the!flickering!and!endless! movement!of!the!sea.!I!was!struck!by!how!such!profound!abstraction!could!result!in!a! representational!image!–!one!that!doesn’t!use!illusion.!For!me,!these!crosshatched! paintings!are!a!highly!developed!form!of!abstraction.!This!painting!style!has!existed!for! over!20,000!years.!Through!this!encounter!I!became!aware!of!how!potent!it!can!be!to! abandon!the!strict!geometry!of!central!perspective!behind.!! ! Fig.!39:!my!sketchbook!from!1999,!comparing!icons!with!cross!hatched!bark!paintings! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 40!Conversation!with!the!Aboriginal!artist!Banduk!Marika!in!Yirrkala,!July!1999.! ! 42 During!my!PhD!research!I!returned!to!this!experience.!I!compared!Aboriginal! crosshatched!paintings!with!Medieval!icon!paintings.!The!reason!for!this!was!not!the! spiritual!qualities!of!these!paintings!but!the!powerful!atmosphere!these!works!generate! in!the!absence!of!central!perspective.!By!referring!to!natural!forms!and!figures,!these! painters!create!something!new;!a!picture!in!its!own!right,!but!one!that!doesn’t!rely!on! techniques!of!illusion.!! I!decided!to!revisit!a!series!of!works!that!I!had!painted!up!to!2008,!titled!Grids.!The!‘Grid! Painting’!series!has!continuously!evolved!to!depict!and!describe!invisible!radioactive! conditions!in!the!landscape.! ! Fig.!40:!grid!2,!2006,!egg!tempera!and!oil!on!canvas,!175!x!175!cm! Creating!a!sense!of!depth!by!painting!the!surface!is!a!key!element!of!these!works!on! canvas.!I!layer!lines!and!colour!fields!to!achieve!this!sense!of!depth.!The!result!is!often!a! dense!variety!of!painted!structures.!It!is!this!combination!of!pigment!and!structure!that! shifts!the!viewer’s!perception!of!space!and,!essentially,!changes!that!sense!of!the! painting!support.!I!am!interested!in!achieving!the!same!effect!whether!working!with! threeRdimensional!space!or!on!the!flat!canvas!–!however!working!with!actual!space!is! more!complex!because!I!need!to!factor!in!the!corners!of!the!room.!Creating!a!sense!of! depth!on!a!flat!surface!is!akin!to!looking!through!physical!walls.!Indeed,!when!working! to!a!large!scale,!the!painting!expands!into!space!to!surround!the!viewer.!The!painting! turns!into!a!place,!an!environment.!! ! 43 ! Fig.!41:!canola!1,!2013,!egg!tempera!and!oil!on!canvas,!200!x!450!cm! I!have!been!strongly!influenced!by!the!work!of!German!artist!Renate!Anger’s!(1943R 2008),!who!piqued!my!interest!in!extending!my!paintings!into!space.!Anger!studied! painting!during!a!time!in!which!the!conceptual!artist,!Professor!Franz!Erhard!Walther,! had!prohibited!painting.!According!to!Walther,!painting!was!an!outRdated!medium;!to! oppose!this!dogma,!Anger!used!pigments!and!egg!tempera!binder!to!paint!on!wallRsize! canvases.!Her!work!remained!conceptually!driven.!The!artist!used!canvases!within! larger!expanses!where!she!would!paint!on!surfaces!including!windows!and!walls.!Her! approach!was!poetic!and!she!often!completed!her!pieces!with!text.!Take,!for!example,! her!2008!spatial!installation!at!the!AT!Gallery!in!Poznan,!Poland.!The!composition! responded!to!the!long,!rectangular!space,!egg!tempera!painted!along!the!walls!of!the! building.!The!work!included!two!photographs!of!tulip!flowers!on!the!room’s!shorter! walls:!one!set!of!flowers!were!fresh,!the!other!faded.!What!was!notable!to!me!about!this! exhibition!was!the!artist’s!combination!of!a!sensual!and!visceral!abstract!painting!style! with!poetic!and!psychological!photography.!Although!very!different!media,!these!felt! integrated!and!the!architecture!also!became!part!of!the!work.!! ! Fig.!42:!Arco,!Renate!Anger,!Gallery!AT,!Poznan,!Poland,!2008! ! 44 The!purpose!of!this!subchapter!has!been!to!summarize!how!and!why!I!use!particular! painting!techniques!to!alter!the!viewer’s!perception!of!space,!as!well!as!highlighting!the! sources!of!influence!that!have!shaped!my!thinking.!I!have!discussed!how!I!transform!the! flat!surface!plane!of!the!canvas!using!colour!and!form,!also!painting!within!threeR dimensional!spaces!with!colour!field!techniques,!layering!line,!colour!and!using!methods! of!collage.!In!summary,!my!aim!is!not!to!copy!nature,!but!to!create!a!space!with!its!own! unique!atmosphere.! ! Depth'in'my'Paintings'and'the'Language'of'Colour' ! How!can!a!flat!painting!use!structure!and!line!to!embody!the!vast!depth!of!a!sublime! landscape?!What!are!the!methods!that!can!be!used!to!create!a!sense!of!space!upon!a! canvas,!piece!of!paper!or,!even!the!walls!of!an!architectural!space?!! From!time!to!time!I!produce!landscape!sketches!as!a!means!of!studying!space.!Examples! for!this!practice!are!my!sketches!that!capture!Port!Philip!bay!near!Melbourne.!I!return!to! this!area!often;!the!scene!from!the!Mornington!Peninsula!overlooking!the!calm!Bay!feels! like!a!view!of!infinite!grey!on!overcast!days.!For!me,!this!is!pure!and!powerful!space.!The! palette!of!greys!in!the!view!is!varied,!and!one!is!always!deeper!than!the!others.!Indeed,!I! often!collect!and!remember!colours!that!I!see!by!making!small!waterRcolour!paintings.!I! try!to!examine!what!I!see!and!reproduce!the!sensation!of!the!elements!I!see.!These! reference!points!are!often!the!subtle!shapes!of!light!behind!clouds,!which!vary!after!a! few!seconds.!So!what!shifts!this!impression!of!space!is!its!colours,!these!grey!tones! between!me!and!the!clouds.!I!look!at!such!spaces!and!use!them!as!the!grounding! atmosphere!of!various!works.! The!materiality!of!the!paint!that!I!use!has!a!defining!role!in!my!work.!For!example,! glossy!surfaces,!like!oil!paint,!are!reflective!and!will!therefore!enhance!the!foreground!of! a!work,!whereas!matt!pigments!can!seem!to!enhance!a!deep!field.!Placed!near!each! other,!upon!the!picture!plane,!the!glossy!paint!will!appear!to!enhance!the!surface!in! contrast!to!the!matt.!As!such,!I!work!with!this!tension!between!matt!and!glossy!surfaces.!! It!was!for!this!reason!that!I!researched!what!I!call!depthRgenerating!pigments!–!for! example,!Milori!blue.!This!colour!initially!appears!black!but,!in!fact,!it!is!a!velvety!dark! blue.!Applied!to!the!wall!or!canvas!–!with!a!small!amount!of!binding!medium!–!this! pigment!appears!like!a!hole,!a!space!beyond.!Milori!blue!is!best!used!with!egg!tempera,! applied!in!one!thick!layer.!The!velvety!character!of!this!pigment!will!then!appear!at!its! deepest.!If!a!second!layer!is!applied!the!previous!smoothness!is!destroyed!and!the! colour!becomes!reflective.!Every!little!reflection!is!a!disturbance,!because!the!viewer’s! perspective!no!longer!sinks!into!this!colour,!which!is!needed!to!create!visual!depth.!! ! 45 ! Fig.!43:!beetle!2,!2014,!egg!tempera!and!oil!on!canvas,!140!x!140!cm! Take,!for!example,!beetle!2,!where!I!used!Milori!blue!to!compose!a!form!that!produces!a! new!space!within!the!canvas.!The!expanse!can!emerge!without!geometric!frames,!such! as!central!perspective;!instead,!a!space!that!appears!limitless,!like!a!dark!abyss!is! created.!! Each!colour!has!its!own!physical,!optical!and!sensual!qualities,!from!which!the! composition!of!any!painting!is!formed.!Furthermore,!each!pigment!has!its!own!character! and!depth!of!field.!I!have!found!that!egg!tempera!and!the!medium!MDM!binder41! combined!with!dry!colour!pigments!reduce!light!reflection.!Its!matt!surface!has!a!velvety! finish!and!lends!specific!pigments!an!immense!depth!and!an!intensity!of!colour.!Using! Milori!blue,!Prussian!blue,!cadmium!yellow!and!some!pink,!grey!and!light!blue!tones!can! give!the!look!of!a!hole.!I!also!use!pigments!that!visually!resonate!in!the!foreground!of!a! work,!such!as!neon!orange,!which!I!consider!to!be!one!of!the!most!aggressive!colours.! Conversely,!neon!yellow!can!create!a!sense!of!distance.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 41!The!artist!Milovan!Destil!Markovic!invented!a!new!binder!for!pigments!and!shared!his!knowledge!with! me.!This!binder!had!the!matt!qualities!of!egg!tempera!but!is!extreme!resilient!and!can!even!be!used! outdoors,!whilst!being!with!soft!and!strong!colour!space.!! ! 46 ! Fig.!42:!infiltration,!2012,!ink,!egg!tempera!and!oil!on!wall,!floor,!canvas!and!paper,!350!x!600!x!450!cm,! Slag!Contemporary,!New!York!City! Black!ink!also!remains!in!the!foreground!because!of!its!reflective!qualities.!Ink!was!a! medium!that!I!used!for!it!goes!deeper!and!also!for!cloud!because!ink!resembled!the! colour!of!the!respective!linoleum!floors.!I!painted!black!ink!forms!on!the!wall!and,! resultantly,!the!wall!began!merged!with!the!floor,!shifting!the!perception!of!the!space’s! parameters.!However,!because!ink!is!a!fragile!substance!that!can!easily!change!form,!I! stopped!using!it!in!permanent!works!on!canvas!and!concrete!objects.!I!continuously! expand!my!vocabulary!of!colours,!testing!new!pigments!and!using!these!in!different! contexts.!! Dry!colour!pigments!are!the!basic!material!from!which!all!colours!are!made.!Using!dry! pigments!allows!me!to!select!and!mix!colours!that!serve!my!specific!needs.!Each! pigment!has!its!own!qualities.!The!neon!colours!are!strongest!when!applied!above!a!dry! layer!of!titanium!white.!Cadmium!red!needs!to!soak!for!a!few!hours!before!used!so!that! the!pigment!grains!can!dissolve!within!the!binder.!Dark!green!needs!to!be!dissolved! slowly!–!ox!gall!or!dishwashing!liquid!needs!to!be!added!to!allow!the!fatty!pigment!to! dissolve,!which!is!the!same!with!the!colour!of!burnt!umber.!Cheaper!pigments,!which! are!used!for!stage!painting!in!theatres,!need!to!have!cellulose!added!because!the! pigmentRbinder!mixture!separates!after!a!short!time.!Without!celluloses,!painting!a! homogenous!colour!field!is!not!possible.!The!heavy!cadmium!colours!are!the!easiest!to! use;!they!dissolve!quickly!and!emit!and!opaque!intensity.!I!use!cheap!pigments!in! combination!with!the!intense!colours!because!their!different!characters!generate!a! specific!tension.!! The!art!of!Anish!Kapoor!is!both!formal!and!conceptual.!He!often!utilizes!a!dialogue! between!colour!and!form,!pigment!and!object.!Indeed,!my!interest!in!Kapoor!stems!from! ! 47 his!production!of!pigmented!colour!sculptures.!I!saw!one!of!his!sculptures,!Memory,!at! the!Deutsche!Guggenheim!Museum!back!in!2008.42!The!work!takes!the!form!of!a!gigantic! steel!object,!which!is!coated!on!the!inside!with!pigments.!Kapoor!examines!the! contradiction!that!can!exist!between!physical!reality!and!perception.!As!such,!the! interior!space!of!this!sculpture!appeared!endless,!to!continue!for!infinity,!which! conflicted!with!the!clear!boundaries!of!the!work’s!exterior.!Kapoor!creates!such!voids!by! using!pigments;!his!focus!is!on!the!pictorial!effect!and!how!this!impacts!the!viewer’s! perception.!He!uses!nonRreflective!pigments,!which!seem!to!swallow!light!and!create! depth.!Conversely!also!works!with!the!glossy!nature!of!colour,!which!can!create!vibrant! energy.!The!two!are!often!combined!to!create!confusing!forms!where!the!actual!physical! qualities!of!the!object!get!overwritten!by!the!visual!effects.!His!pigments!create!an! optical!space!that!triggers!emotions,!and!his!choice!of!colours!is!often!guided!by!his!own! subjective!reactions!to!specific!tones.!! His!works!use!distortion!on!convex!and!concave!sculptures.!Often!fabricated!from! mirrored!forms,!his!sculptures!investigate!the!‘inRbetween!state’!of!objects!whose! internal!makeup!is!at!odds!with!their!surface.!As!he!states!in!relation!to!the!Non!Objects! series,!of!which!Memory!is!a!part:! In!a!way!they!are!technological!but!they!are!also!a!very,!very!simple!idea.!I!have! been!deeply!interested!over!a!long!period!of!time!in!geometry.!I’m!interested!in! taking!certain!forms,!triangles,!squares!and!turning!them!into!something!else!...! It’s!a!stupid,!simple!idea!but!it!does!something!–!it!becomes!something!else.43! My!work!diverges!from!Kapoor’s!in!that!our!forms!and!methods!have!different!concerns.! For!my!paintings!I!invent!unpredictable!natural!and!biomorphic!forms,!considering!how! these!might!change!and!mutate!over!time.!My!main!focus!is!not!on!the!creation!of!effects! with!the!pigments!I!use,!but!to!establish!a!dialogue!between!pigment!and!form!to!convey! meaning!regarding!the!potential!for!biomorphic!mutation.!! My!work!also!has!similarities!with!Kapoor’s.!While!he!works!in!the!materialist,!formalist! tradition!of!Modernity,!he!believes!that!art!needs!to!be!subjective!and!that!a!transition! begins!when!the!materiality!of!an!artwork!follows!the!subject!matter.!Kapoor!wants!his! pigment!voids!to!appear!to!expand!beyond!the!sculpture!itself.!The!impact!of!his!work! results!from!the!discombobulating!contrast!between!finite!object!and!the!infinite!space! it!seemingly!expands!into.!In!this!respect,!I!follow!a!similar!approach:!the!optical!impact! of!the!painting!needs!to!override!the!geometry!of!the!space!within!which!the!painting!is! made.!The!forms!that!I!depict!in!the!distance!need!to!seem!closer!than!shapes!in!the! foreground,!and!in!this!way,!I!believe!that!colour!can!overpower!reality!and!should!be! used!as!such.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 42!Deutsche!Guggenheim!Berlin,!Germany,!Anish!Kapoor:!Memory,!2008.!! See!https://www.guggenheim.org/exhibition/anishRkapoor! 43!Brigid!Delaney,’!'You!could!disappear!into!it':!Anish!Kapoor!on!his!exclusive!rights!to!the!'blackest!black'! Interview!with!the!Guardian,!accessed!February!25,!2017.! https://www.theguardian.com/artanddesign/2016/sep/26/anishRkapoorRvantablackRartRarchitectureR exclusiveRrightsRtoRtheRblackestRblack#imgR2! ! 48 ! Fig.!45:!Round!up!cloud!in!valley,!2016,!collaboration!with!artist!Milovan!Destil!Markovic,! aluminium,!egg!tempera!on!wall!and!floor,!350!x!500!x!300!cm,!Bundonon!Residency,!NSW! In!2016!I!worked!on!a!collaborative!Spatial!Painting!with!the!artist!Milovan!Destil! Markovic.!During!this!time,!my!aim!was!to!deepen!my!knowledge!of!binding!mediums! used!in!combination!with!pigments.!I!wanted!to!achieve!a!matt!quality!for!the!colour’s! finish,!which!absorbs!light.!Egg!tempera!is!often!brittle!and!I!wanted!a!more!robust! substance.!For!the!first!time!I!used!MDM!binder,!which!Milovan!Destil!Markovic! invented.!This!binding!medium!had!exactly!the!qualities!I!was!looking!for:!matt!like!the! egg!tempera,!which!I!had!used!previously,!but!with!stronger!binding!qualities.!When!dry,! this!binder!becomes!so!solid!that!it!can’t!even!be!removed!from!glass.!This!unique! binder!does!not!disturb!the!mattRnature!of!pigments.!Stronger!binders!such!as!linseed! oil!or!acrylic!often!result!in!the!colour!becoming!glossier.!Matt!acrylic!binder!makes!the! pigments!look!like!they!have!been!covered!with!a!very!thin!layer!of!plastic;!as!such,! pigments!lose!their!depth!and!intensity.!Again,!this!does!not!happen!when!using!MDM! binder.!It!is!therefore!the!ideal!binder!for!pigments!used!to!create!permanent!Spatial! Paintings.!! Following!the!making!of!our!collaborative!painting!Roundup!cloud!(2016),!I!began! introducing!this!binder!into!my!work!more!generally,!first!in!combination!with!egg! tempera!and!oil!paint;!later,!I!experimented!with!replacing!the!egg!tempera!altogether.! ! 49 In!summary,!MDM!binder!allows!me!to!create!colour!voids!that!have!an!enhanced! intensity!because!reflection!is!eradicated.!! I!constantly!assess!my!material!approach!to!art!making.!Colour!has!both!aesthetic!and! symbolic!qualities.!Take,!for!example,!gold,!which!has!been!used!throughout!history!to! represent!light!and!divinity.!The!way!in!which!humans!perceive!colour!is!determined!by! culture,!combined!with!an!intuitive,!emotional!response.!When!I!use!dark!colours!such! as!Milori!blue!in!combination!with!neon!yellow,!the!viewer’s!experience!of!the!colour! combination!is!harsh,!aggressive.!Indeed,!this!combination!is!common!to!insects!such!as! wasps,!so!arguable!humans!instinctively!feel!alert!when!we!come!across!such!matter.!In! contrast,!when!this!dark!blue!is!used!in!combination!with!a!warm!orange,!it!becomes! harmonic.!Throughout!my!research!I!have!explored!neon!colours.!My!subject!matter! necessitated!a!colour!combination!that!demonstrated!aggression!and!a!sense!of! artificiality.!I!see!instruments!of!war!as!inhumane!technology.!Through!extreme!colour! combinations!I!refer!to!explosions!and!the!force!of!extreme!heat!caused!by!deplete! uranium!munitions.!As!such,!I!began!looking!for!the!most!intense!combinations!of!neon! orange,!neon!purple!and!neon!red!to!capture!this!sense!of!destruction.!! ! Fig.!46:!carousel,!2014,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!340!x!335!x!580!cm,! International!Studio!&!Curatorial!Program,!New!York!City! In!the!Spatial!Painting!carousel!(2014),!I!achieved!high!levels!of!aggressive!energy!by! painting!the!outlines!of!an!abstract!negativeRspace!shape!in!white;!I!subsequently!used! neon!yellow,!followed!by!another!layer!of!cold!titanium!white,!and!then!neon!orange! and!neon!purple.!The!white!core!of!the!painting!travelled!diagonally!from!the!top!left!to! ! 50 the!bottom!right!of!the!room.!My!colourful!lines!delineated!irregular,!pointy!forms.!The! bright!core!was!surrounded!by!grey!tones!that!became!increasingly!dark,!as!well!as!dark! red!and!Milori!blue.!! I!use!such!disharmony!in!my!colours!to!point!towards!the!struggles!caused!by! radioactive!disasters.!When!I!find!effective!combinations!I!start!pushing!at!the!tension! between!colours.!Neon!colours!are!at!their!brightest!when!layered!over!cold!titanium! white.!Titanium!white!is!a!cold!and!bright!white!pigment!and!when!painted!over!the! corners!of!threeRdimensional!space!it!appears!illuminated.!! I!believe!that!neutral!colours!that!can!be!used!to!create!both!positive!and!negative! emotional!responses.!For!example,!if!I!layer!neon!orange!over!pink!this!colour!becomes! more!pleasant.!Indeed,!a!particularly!harmonic!colour!is!a!light!blue!that!I!mix!using! Titanium!white,!Phthalo!blue!and!Dioxazine!purple.!The!colour!reaches!far!into!the! distance,!is!warm!and!indicates!a!sense!of!the!sublime.!A!similar!effect!derives!from! mixing!greys!out!of!pink,!light!blue!and!cadmium!yellow.!As!long!as!the!grey!tone!is! warm,!I!believe!it!appears!bright!and!beautiful.!! Such!layering!of!colours!intensifies!their!appearance.!The!brightest!red!can!be!built!up! through!painting!red!with!a!little!white!added!in!two!or!three!thin!layers;!the!last!layer! is!a!bright!red!tone!is!thinly!applied!without!white.44!Every!colour!will!reach!a!higher! intensity!and!uniqueness!through!this!collageRlike!layering,!the!next!layer!being!added! once!the!colour!beneath!is!dry.!! Of!course,!I!could!easily!write!about!what!every!single!colour!means!in!my!visual! language,!and!the!various!results!these!colours!can!achieve!in!different!combinations.!It! is!an!endless!process!of!growth.!It!is!this!process!of!continual!development!that!drives! my!regular!watercolour!painting!practice,!where!I!refer!to!nature!to!discover!new! colours!and!forms.!The!point!is!that!new!colours!and!forms!are!always!there!–!the!longer! I!observe!a!landscape,!the!more!I!can!see.!As!such,!nature!is!a!neverRending!source!of! inspiration!for!my!colour!vocabulary!and!the!forms!that!I!can!create!accordingly.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 44!Max!Doerner,!Malmaterial!und!seine!Verwendung!im!Bilde!(Stuttgart:!Ferdinand!Enke!Verlag,!1994,!18.! Auflage),!pp.!292R302.!English:!The!Materials!of!the!Artist!and!their!Use!in!Painting:!With!Notes!on!the! Techniques!of!Old!Masters!(San!Diego:!A!Harvest!Book!Harcourt,!Inc.,!1949)! ! 51 ! Fig.!47:!painting!Milori!blue!dot,!2014,!Metropolitan!Avenue,!Brooklyn,!New!York!City! In!2014,!I!tested!the!possibilities!of!depth!for!Milori!blue.!I!had!a!residency!in!New!York! and!wanted!to!see!how!strong!colour!pigments!can!influence!the!mood!of!everyday!life.!I! called!the!project!Milori!blue!dot.!One!night!I!painted!an!eightRmeter!long!MiloriRblue! oval!onto!one!of!the!busiest!roads!of!Brooklyn,!on!which!lots!of!trucks!drive.!The!oval! was!narrow!at!one!end.!Seen!from!the!driver’s!perspective!it!would!look!like!a!large! circle!because!of!this!distortion.!I!wanted!to!see!if!drivers!would!stop!if!they!thought! there!was!a!hole!on!the!road.!I!watched!the!dot!till!dawn!and!no!one!stopped.!I!took!the! barrier!away!and!people!drove!over!the!colour!on!the!road’s!surface.!By!the!afternoon! the!painting!had!vanished!into!dust!and!gravel.!My!conclusion!from!this!experience!was! that!my!art!needs!to!be!presented!in!a!very!specific!location,!where!people!take!time!and! interest.!The!viewer’s!perspective!is!key.!! ! Fig.!48:!Milori!blue!dot,!2014,!Metropolitan!Avenue,!Brooklyn,!New!York!City! ! ! 52 CHAPTER'TWO:'THE'PERSPECTIVE'PARADIGM' ! Painting!in!perspective!(…)!is!certainly!not!the!same!as!painting!perspective:!a! drawing!or!painting!can!be!in!perspective;!but!perspective!itself,!how!can!this!be! produced,!made!prominent,!if!not!in!the!form!of!a!perspective!–!which! immediately!implies!reference!of!some!kind?! ! ! ! ! ! ! ! ! Hubert!Damisch!45!! Hubert!Damisch!demonstrates!the!endless!possibilities!of!defining!a!perspective!in! painting!and!how!this!can!capture!the!spirit!of!a!époque.!In!this!second!chapter!I!will! elaborate!on!the!notion!of!perspective!and!definitions!of!this!term!as!it!was!theorized!in! Western!European!art,!as!well!as!in!nonRWestern!cultures.!I!will!mention!key!influences! and!writers!whose!knowledge!has!driven!my!research!including!Pavel!Florensky!–!who! analyses!abstraction!in!frescoes!–!Otto!Demus,!Erwin!Panofsky!and!Clement!Greenberg.! Contemporary!art!writers!that!I!will!discuss!include!Rosalind!Krauss,!Elizabeth!Grosz! and!Graham!Dixon.!This!research!has!provided!the!foundation!for!developing!my!own! perspective!in!painting,!which,!as!discussed,!is!not!linear,!although!is!also!not!entirely! built!on!reverse!perspective.!Later!in!this!chapter!I!write!about!artists!whose!concern!is! spatiality!and!a!distinct!use!of!perspective:!the!Soviet/Russian!avantRgarde,!Donald!Judd,! Felice!Varini,!George!Rousse!and!Elizabeth!Murray.!This!chapter’s!purpose!is!to! underline!the!theoretical!discourse!that!underpins!my!practice.!! ! Fig.!49:!fish,!2013,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!200!x!220!x!250!cm! My!research!has!informed!alternatives!to!the!use!of!central!perspectives.!Take!for! example!fish!(2013),!which!was!made!for!an!exhibition!titled!Colour!Sharks!in!a!smallR scale!project!space!called!The!Wand!in!Berlin.!The!painting!acknowledges!the! architectural!forms!of!the!space,!which!are!repeated!within!my!composition.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 45!Hubert!Damisch,!The!Origin!of!Perspective!(Cambridge,!MA!and!London:!The!MIT!Press,!1995),!p.!269.! Italics!in!original.!Translated!from!French!original!of!1987!by!John!Goodman.! ! 53 Architecture!and!painting!fuse.!The!corner!was!bridged!with!a!leaning!canvas.!As!such,! this!painting!was!to!mark!the!development!of!my!methodology!for!later!largeRscale! projects.!I!am!using!this!example!of!my!work!to!show!a!starting!point!for!how!I!have! tried!to!rethink!the!potential!for!perspective.!! Art!historian!Johannes!Honeck!has!described!my!process!in!his!essay!‘Hybrid!Worlds!–! From!the!Surface!to!Space!out!of!Time’:! This!fascination!with!the!twoRdimensional!picture!plane,!which!can!be!extended! into!the!realm!of!the!multiRdimensional!through!painterly!adaption!and!the! inclusion!of!the!room,!the!space,!into!the!work!itself,!becomes!the!central! concept!in!Chaseling’s!paintings.!Suspended!outlandishly!on!the!painting!surface,! visual!citations!are!spread!across!her!dreamlike!vivifications.!They!do!not! confine!themselves!to!the!standard!panel!painting!format!but!rather!explode!the! limits!of!experiential!space,!leading!towards!a!confrontation!with!the!quirky,! sometimes!humorous,!sometimes!unbearably!painful!–!profane!reality!of!human! existence.46! Here,!Honeck!articulates!the!interaction!of!spatiality!and!content!that!underpins!my! practice.!Indeed,!it!is!this!core!interest!that!made!me!want!to!investigate!the!precedents! of!perspective!in!painting,!historically!up!to!the!present!day.!! ! Fig.!50:!it!goes!deeper,!2012,!egg!tempera!and!oil!on!wall,!floor,!ceiling,!canvas!and!concrete,! 350!x!300!x!550!cm! ! ! ! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 46!Johannes!Honeck,!’Hybrid!Worlds!–!From!the!Surface!to!Space!out!of!Time’,!in!Claudia!Chaseling!–!Spatial! Painting!(Berlin:!ed.!Benedikt!Stegmayer,!Verlag!fuer!zeitgenoessische!Kunst!und!Theorie,!2016),!p.!145.! ! 54 Theoretical'Background'of'Western'Practices'in'Europe'' ! As!discussed!in!Chapter!One!of!this!thesis,!Byzantine!frescoes!play!a!major!role!in!my! research!because!the!painting!during!this!period!was!built!on!a!mode!of!abstracting! reality,!rather!than!on!naturalism!per!se.!! Ervin!Panofsky’s!wellRknown!1927!treatise!‘Perspective!as!Symbolic!Form’!discusses! linear!perspective,!describing!a!distinction!between!artistic!perception!and!more! general!cognition:!! The!laws!which!the!intellect!“prescribes”!to!the!perceptible!world!and!by! obeying!which!the!perceptible!world!becomes!“nature”,!are!universal;!the!laws! which!the!artistic!consciousness!“prescribes”!to!the!perceptible!world!and!by! obeying!which!the!perceptible!world!becomes!“figuration”!must!be!considered! to!be!individual!–!or….!“idiomatic.”!47!! In!other!words,!perspective!didn’t!necessarily!portray!the!world!correctly;!it!described! the!world!according!to!a!rational!and!repeatable!system.!Panofsky!explains!that!central! perspective!during!the!Renaissance!shifted!art!into!a!science.!The!regimented!and! calculable!nature!of!central!perspective!was!valued!higher!than!the!soRcalled!subjective! artistic!perceptions!of!space.48! For!Panofsky,!perspective!transforms!reality!into!appearance;!the!divine!is!reduced!to!a! subject!matter!for!human!consciousness.!It!too!expands!human!consciousness!into!a! vessel!for!the!divine.49!Indeed,!tactile!space!and!visual!space!contrast!to!the!metric!space! of!Euclidean!geometry.!Exact!‘perspectival!construction’,!as!described!in!the!quote! below,!differs!form!the!actual!experience!of!space:!! For!it!is!not!only!the!effect!of!perspectival!construction,!but!indeed!its!intended! purpose,!to!realize!in!the!representation!of!space!precisely!that!homogeneity!and! boundlessness!foreign!to!the!direct!experience!of!that!space.!Perspective!negates! the!differences!between!right!and!left,!between!bodies!and!intervening!space! (empty!space),!so!that!the!sum!of!all!the!parts!of!space!and!all!its!contents!are! absorbed!into!a!single!“quantum!continuum”.50!! Panofsky!is!decoding!perspective,!highlighting!that!it!can!take!on!many!forms.!It!is!a! method!to!transform!a!threeRdimensional!subjective!experience!into!a!system!of! understanding.!American!art!critic!Rosalind!E.!Krauss!brilliantly!describes!the! restriction!of!the!postRRenaissance!gridding!of!images.!This!has!informed!my! comparisons!of!Byzantine!and!Renaissance!perspective.!Krauss!states:! In!the!Renaissance,!perspective!grids!were!inscribed!on!the!depicted!world!as! the!armature!of!its!organization.!Perspective!was!the!demonstration!of!the!way! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 47!Erwin!Panofsky,!Perspective!as!Symbolic!Form!(New!York,!USA:!Zone!Books,!1991),!p.!13.!Translated!by! Christopher!S.!Wood.!Originally!published!as!“Die!Perspective!als!‘symbolishe!Form’,”!in!the!Vortraege!der! Bibliothek!Warburg!1924R1925!(Leipzig!&!Berlin,!1927),!pp.!258R330.! 48!Erwin!Panofsky,!Perspective!as!Symbolic!Form,!op.!cit.,!p.!66.! 49!Erwin!Panofsky,!Perspective!as!Symbolic!Form,!op.!cit.,!p.!72.! 50!Erwin!Panofsky,!Perspective!as!Symbolic!Form,!pp.!28R31.! ! 55 reality!and!its!representation!could!be!mapped!on!another,!the!way!the!painted! image!and!its!realRworld!referent!did!in!fact!relate!to!one!another!–!the!first! being!a!form!of!knowledge!of!the!other.51! For!Rosalind!Krauss,!Modernist!art!is!defined!by!its!approach!to!spatiality!and!an!antiR natural!orientation,!so!to!speak.!Art!was!determined!by!materialism!and!gridRlike! structures:!“For!Piet!Mondrian!and!Kazimir!Malevich!the!grid!was!a!staircase!to!the! universal.”!52!Whilst!in!the!Renaissance,!grids!were!applied!to!support!a!method!of! depiction;!in!Modernism!the!grid!became!independent,!revealing!its!fundamental!import.! Hence,!Modernism!didn’t!merely!dissolve!the!space!depicted!in!painting;!it!distilled!it!to! form!a!new!visual!language!and!compositional!system.!However,!I!believe!that!this! ‘gridding’!has!its!own!restrictions:!such!grids!freed!painting!from!the!use!of!central! perspectives,!but!also!created!another!prison!or,!let’s!say,!formal!prejudice.!Arguably,! the!structure!of!formal!rules!can!inhibit!form!and!content.!! ! ! Fig.!51:!metal!2,!2015,!egg!tempera!and!oil!on!canvas,!100!x!120!cm! Fig.!52:!fish,!2013,!aluminium,!egg!tempera!and!oil!on!canvas,!120!x!120!cm! ! Perspective'Defined'in'NonKWestern'Cultures' ! Panofsky!restricted!his!analysis!to!western!culture;!however,!I’m!also!interested!in!nonR western!discourse.!Hubert!Damisch!claims!that!the!term!‘perspective’!should!be!used!in! plural!rather!than!in!singular!form.!Referring!to!Panovsky’s!treaty!Perspective!as!a! Symbolic!Form,!Damisch!remarked!that!Panofsky!is!‘ignoring!those!civilizations!that! seem!to!have!been!unfamiliar!with!perspective!–!at!least!with!linear!perspective!–!taking! into!consideration!only!those!periods!of!western!art!that!knew!of!it,!or!that!refused!it!in!a! more!or!less!deliberate!and!radical!way:!that!refused!it!or!negated!it,!in!a!dialectical! sense!of!the!word.’!Damisch!continues!by!asking!an!important!question:!‘Is!it!possible!to! have!a!figurative!art!that!does!not!have!perspective!at!its!command!in!one!form!or! another,!however!this!might!differ!from!our!own!conception!of!it?’!53!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 51!Rosalind!E.!Krauss,!The!Origin!of!the!AvantFGuard!and!other!modernist!Myths!(Cambridge:!The!MIT!Press,! 1986),!pp.!9R10.! 52!Ibid.! 53!Hubert!Damisch,!The!Origin!of!Perspective,!op.cit.,!p.13.! ! 56 As!I’ve!described,!I!argue!that!perspective!can!transmit!ideas!and!that!it!too!can!embody! time.!Every!culture!through!history!has!used!the!painted!space!to!reflect!its!priorities! and!values,!from!Neolithic!cave!painting!up!to!today’s!digital!age.!A!consciousness!of!the! possibilities!of!perspective!has!led!to!the!development!of!methods!used!in!painting! through!history;!for!me,!I!have!extended!it!to!mutate!our!sense!of!the!threeRdimensional.!! Other!nonRwestern!cultures!don’t!rely!on!central!perspective.!The!focus!is!on!the!sense! of!a!place!and!not!on!its!logical!structure.54!For!example,!Japanese!landscape!ink! paintings!from!the!fourteenth!century!do!not!use!such!linear!perspective.!Instead,!the! landscape!is!applied!in!layers!and!expands!over!the!paper.55!The!landscape’s!focus!is! often!on!an!element!in!the!foreground.!The!middle!area!of!the!landscape!is!absent;!foggy! or!covered!by!clouds.!The!contrast!between!the!foreground!and!distance!is!captured!in! this!way.!! Another!example!of!perspective!in!nonRwestern!painting!is!remarked!upon!in!the! writings!of!Elizabeth!Grosz,!who!analyses!the!Warlungulong!paintings!found!twoR hundred!miles!from!Australia’s!Alice!Springs:! This!is!an!art!that!is!understood!conceptually.!Its!effect!is!largely!visceral,! dazzling!the!eyes!with!color!vibrations,!beckoning!hands!to!touch!and!ears!to! hear!its!shimmering!forms,!its!stories!of!origin,!its!rhythms!and!movements!that! are!both!abstract!and!realist,!both!representational!and!anti!representational!in! one!and!the!same!canvas,!disorienting!our!optical!and!spatial!coordinates!in! favor!of!more!haptic!understanding!of!terrain!or!earth!and!of!its!relations!to!the! living!…!56! Here,!the!visceral!importance!of!an!embodied!experience!is!highlighted,!one!that! distorts!optical!and!spatial!‘coordinates’!to!privilege!a!conceptualRcumRsensual! experience.! ! ! Fig.!53!and!54:!tardigrade!2!and!metal!1,!2015,!egg!tempera!and!oil!on!canvas,!each!40!x!40!cm! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 54!KenRichi!Sasaki,!‘Perspectives!East!and!West’,!accessed!April!2,!2017,!on! https://quod.lib.umich.edu/c/ca/7523862.0011.016/RRperspectivesReastRandRwest?rgn=main;view=fulltext!! 55!ibid.! 56!Elizabeth!Grosz,!Chaos,!Territory,!Art!F!Deleuze!and!the!Framing!of!the!Earth!(New!York:!Columbia! University!Press,!2008),!p.!99.! ! 57 Byzantine'Tradition:'The'Reverse'Perspective' ! Linear!perspective!in!the!European!tradition!was!superseded!by!the!creation!of!a!vision! –!something!that!was!beyond!actual!life.!I’m!referring!to!the!difference!between!frescoes! from!the!Byzantine!period!and!the!Italian!Renaissance!period.!Using!central!perspective,! Renaissance!painters!created!illusionary!spaces;!Byzantine!artists,!however,!used! symbolism.!! British!art!historian!Andrew!GrahamRDixon!described!how!such!‘frescoes!with!their! physical,!electric!presence….!are!proof!that!there!was!more!to!Byzantine!art!than!the! formality!and!otherworldliness!of!its!mosaic!and!icon!tradition.’57!It!was!the!art!writer! Giorgio!Vasari’s!description!of!Giotto!di!Bondone’s!paintings!that!first!deemed!Byzantine! art!to!be!‘primitive’.!! According!to!Vasari,!it!was!Giotto!who!shifted!painting!into!something!more! representational.!However,!GrahamR!Dixon!has!later!pointed!out!the!influence!of!the! frescoes!in!the!St.!Panteleimon!Church!at!Nerezi!–!today!Macedonia!–!on!Giotto’s!Arena! Chapel!frescoes,!found!in!Padua,!Italy.!He!argues!that!the!Byzantine!East!played!a! formative!role!in!the!development!of!Renaissance!art!–!more!so!than!Vasari!was! prepared!to!concede.!This!is!logical,!given!that!in!the!fifteenth!century,!many!of!the! Greek!Byzantine!painters!who!created!frescoes!around!the!Byzantine!Empire!had! escaped!wars!within!the!Ottoman!Empire,!finding!refuge!in!Italy.!Indeed,!Serbian! painters!taught!also!by!these!Greek!painters,!and!they!subsequently!made!Byzantine! churches!in!Serbia!–!whose!frescoes!I!encountered!in!the!monasteries!of!Ravanica!and! Manasija.!! ! Fig.!55:!Ravanica!Monastery,!Serbia,!fourteenth!century!frescos! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 57!See!Andrew!GrahamRDixon,!Renaissance!(Berkley:!University!of!California!Press,!1999).! ! 58 I!first!questioned!classical!methods!of!painting!after!reading!The!Iconostasis!by!Pavel! Florenskij!in!1995!–!and!which!I!returned!to!in!2015.!It!has!always!seemed!unnecessary! for!me!to!represent!in!painting!what!I!see.!The!writings!of!Pavel!Florensky!provided!me! with!a!theoretical!framework!that!underpinned!my!intuition!regarding!the!power!of! perspective!in!painting.!58!! Pavel!Florensky!wrote!in!1921–22!that!Christian!Orthodox,!Byzantine!and!also!later! Russian!icon59!paintings,!have!a!greater!objectivity!and!are!more!concrete!than!paintings! of!later!eras!because!they!don’t!imitate!nature!through!illusionary!central!perspective.60! Parallel!and!reverse!perspective!in!icons!emphasise!the!subject!of!the!painting!and!don’t! follow!the!logical!geometric!construction!of!the!space!that!is!represented!in!the!picture.! Abstraction!in!icons!is!obtained!through!the!use!of!reverse!and!parallel!perspective.!I! will!elaborate!to!explain!this!further:!during!these!periods,!while!the!saint!was!the!main! subject,!it!is!often!small.!However,!all!lines!of!the!architectural!walls!point!toward!the! painting’s!protagonist!making!it!seem!larger!than!its!surroundings.!Optically,!this!moves! the!subject!into!the!foreground!(see!example!Fig.!57,!p.!60)! The!painters!of!such!icons!did!not!use!a!style!of!naturalism.!Instead!they!applied!reverse! perspective.!In!the!Studenica!Monastery!(Fig.25,!p.!35)!you!can!see!that!that!the! background!architecture!in!the!painting!points!towards!the!main!characters!–!in!a!way! ‘staging’!them.!In!his!book!on!the!Byzantine!mosaics,!Otto!Demus!describes!the!‘abstract! verism’!of!the!Byzantine!period.!The!following!quote!captures!his!thoughts!and! demonstrates!the!need!to!investigate!new!perspectives!in!art:!! Byzantine!“perspective”!might!be!described!as!“negative’!perspective”.!It!takes! into!account!the!space,!which!surrounds,!and!is!enclosed!by,!the!image!and! which!intervenes!between!the!image!and!the!beholder;!and!it!aims!at!eliminating! perspective!effects!of!this!space!on!the!beholder’s!vision.!The!Western!artists,!by! contrast,!subjected!figures!to!the!laws!of!perspective!in!order!to!make!them! appear!as!real!bodies!seen!from!below,!with!all!the!distortions,!which!this!view! brings!about.!They!created!an!illusion!of!space,!whereas!the!Byzantine!artists! aimed!at!eliminating!the!optical!accidents!of!space.!The!result!of!the!Western! practice!is!a!picture!of!reality;!the!aim!of!the!Byzantine!artist!was!to!preserve!the! reality!of!the!image.!61! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 58!Pavel!Florensky!(1882R1937)!was!Russian!Christian!Orthodox!theologian,!mathematician,!priest!and! philosopher.!He!died!in!Stalinist!working!camp!in!1937.!His!theoretical!writings!are!translated!into!German! and!later!English!only!in!the!1990s! 59!In!the!Eastern!Orthodox!Christian!tradition,!the!term!‚icon’!refers!to!any!image!regardless!of!the!support! on!which!the!image!is!painted.!Thus,!the!‚icon’!is!used!as!for!those!sacred!images!painted!on!portable! wooden!boards,!fresco!painting!on!the!walls,!as!well!as!mosaic!on!the!floor!of!Eastern!Orthodox!churches! 60!Pavel!Florensky,!Iconostasis!(New!York:!Crestwood,!1996),!p.!25.!Note:!The!iconostasis!is!a!wooden!or! stone!‘screen’!or!a!‘grid’!in!the!Orthodox!Church!where!the!icons!are!placed.!It!separates!the!altar!space! (reserved!for!the!priests!only)!from!the!central!nave!of!the!building,!used!by!the!believers.! 61!Otto!Demus,!quoted!in!Bojana!Pejic!‘The!Icon!Effect,’!in!AvantFGarde!–!Masterpieces!of!the!Costakis! Collection,!cat.!exh.!(Thessaloniki:!State!Museum!of!Contemporary!Art,!2001),!pp.44R58,!here!p.!52.!Original:! Otto!Demus,!Byzantine!Mosaic!Decoration!(Boston:!Boston!Book!&!Art!Shop,!1955),!pp.!33R34.! ! 59 I!want!to!paint!something!that!cannot!be!seen!in!the!real!world.!I!aim!for!my!painted! forms,!silhouettes!and!colour!to!become!their!own!reality.62!The!painted!objects!are!not! depicted!to!describe!the!thing;!the!forms!serve!the!composition!of!the!painting!and!help! to!generate!an!idea,!as!well!as!an!atmosphere.!! ! Fig.!56:!tardigrade!1,!2013,!egg!tempera!and!oil!on!canvas,!80!x!80!cm! The!light!in!icons!does!not!shine!from!a!single!point;!the!figures!and!elements!seem!to! shine!from!inside.63!For!example,!the!famous!Russian!Icon!The!Trinity!or!The!Hospitality! of!Abraham,!painted!by!Andrei!Rublev!in!1411!or!1425–27,!has!a!light!source!that!seems! to!emanate!from!the!entire!painting,!without!one!source;!it!is!gleaming!from!inside,! concentrated!in!the!halos!and!on!the!table!top!between!the!angels.!! Laws!of!central!perspective,!and!therefore!shadows,!were!not!applied!to!buildings!in!the! image.!The!base!on!which!the!angel’s!feet!sit!is!narrow!in!the!front!and!widens!towards! the!background.!The!small!building!in!the!background!is!seen!from!below.!The!observer! looks!at!the!top!of!the!table,!which!uses!parallel!perspective.!Our!view!is!guided!to!the! subject!of!the!painting,!to!the!oval!of!angels!and!it!becomes!clear!that!the!perspective!we! see!is!actually!that!of!the!angles!inside!the!painting.!The!reduced!geometry!and!harmony! of!the!synchronic!figures!create!aesthetic!grace.!Writing!about!this!icon,!Florensky! points!out!the!centrality!of!the!image!in!the!Christian!Orthodox!spiritual!context,! summarizing!that!The!Trinity!by!Rublev!exists,!and!therefore!God!exists.’64!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 62!Pavel!Florensky,!Iconostasis!(New!York:!Crestwood,!1996).!German!version:!Urbild!und!Grenzerlebnis!im! revolutionären!Russland!(Stuttgart:!Verlag!Urachhaus,!Johannes!M.!Mayer,!1990),!pp.!25R26.! 63!Pavel!Florensky,!Iconostasis!(New!York:!Crestwood,!1996),!pp.!162R165.! 64!Pavel!Florensky,!Iconostasis,!op.!cit.,!p.75.! ! 60 ! Fig.!57:!Andrei!Rublev,!Holy!Trinity,!around!1411! Florensky!states!that!the!best!works!of!art!in!western!painting!diverge!from!the!imposed! rules;!art!then!becomes!better!than!the!mind!guiding!the!work.!Lots!of!western!art!has! used!central!perspective,!but!in!my!opinion,!the!strongest!works!depart!from!its!strict! rules.65!In!later!periods!he!names!Peter!Paul!Rubens!and!Rembrandt!as!examples!for! applying!‘light!from!inside!the!painting’,!modeling!figures!and!space!with!and!even!out! of!light.!A!light!source!in!Rembrandt’s!paintings!does!not!exist.!All!painted!elements!are! like!shining,!phosphorescent!matter.!! Florensky!believes!that!Rembrandt’s!approach!in!painting!is!the!selfRdeification!of!the! world.66!In!Ruben’s!paintings!he!points!out!the!innate!glow!of!the!painted!bodies.!In!icon! painting,!it!is!the!light!that!places!the!elements.!Light!cannot!be!understood!as! something!external;!rather,!it!is!a!transcendental!creative!principle!that!manifests!itself! from!within.67!During!this!period,!if!an!artist!was!to!implement!the!rules!of!central! perspective!within!these!masterpieces,!they!would!be!classified!as!wrong,!as!failures.!! Such!a!concept!of!pictorial!space!offers!a!flattened!image!in!the!twentieth!century.! Clement!Greenberg!analyses!the!parallels!between!Byzantine!and!modernist!abstract! American!art.!He!writes:!! The!new!kind!of!modernist!picture,!like!the!Byzantine!gold!and!glass!mosaic,! comes!forward!to!fill!the!space!between!itself!and!spectator!with!its!radiance.’! The!process!of!gradual!flattening!of!the!pictorial!space!from!Gauguin!to!Cubism! to!Newman,!Rothko!and!Pollock,!could!find!its!parallels!in!the!Byzantine!pictorial! tradition!since!the!‘Byzantines!dematerialized!firsthand!reality!by!invoking!a! transcendent!one.’!68!! Understanding!such!different!systems!of!perspectives!paved!the!way!to!my!need!to! dismantle!central!perspective!in!my!own!work.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 65!Pavel!Florensky,!Iconostasis,!op.cit.,!p.163.! 66!Pavel!Florensky,!Iconostasis,!op.cit.,!p.!164.! 67!Pavel!Florensky,!Iconostasis,!op.cit.,!p.165.! 68!Clement!Greenberg,!‘Byzantine!Parallels,’!(1958),!in!his!Art!and!Culture:!Critical!Essays!(Boston:!Beacon! Press,!1961),!p.!169! ! 61 ! Fig.!58:!Murphy!and!other!mutants,!2013,!aluminium,!ink,!egg!tempera!and!oil!on!wall,!floor,!ceiling,!paper! and!concrete,!290!x!360!x!240!cm,!Yaddo,!New!York! ! Russian/Soviet'Avant'Guard'and'the'Icon'Tradition' ! Some!forty!years!earlier!than!Clement!Greenberg,!the!artists!active!in!the! Soviet/Russian!avantRgarde!dismantled!central!perspective.!The!Soviet/Russian!avantR garde!did!not!only!refer!to!Russian!icons!in!their!writings!but!in!their!art!practice!as!well.! Today,!the!lineage!between!the!Russian!icons!and!the!avantRgarde!is!well!discussed.! Around!1911,!when!a!wave!of!‘primitivism’!hit!Paris,!Berlin!and!Moscow,!Russian!artists! came!to!recognize!their!own!‘primitive!tradition’,!as!Bojana!Pejic!writes,!in!‘various! expressions!of!Russian!vernacular!imagery!like!lubki,!childrens’!art,!woodcarving,!folkR art,!the!various!forms!of!applied!art.’69!They!regarded!icons!as!a!form!of!native!art,!as! Kazimir!Malevich!remembered:!! In!spite!of!my!naturalistic!leaning,!of!my!feelings!towards!nature,!I!was!strongly! moved!by!icons.!I!felt!some!kind!of!kinship!and!something!splendid!in!them.!I! saw!in!them!the!entire!Russian!people!with!all!their!emotional!creativeness.!I’d! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 69!Bojana!Pejic,!’The!Icon!Effect’,!in!AvantFGarde!–!Masterpieces!of!the!Costakis!Collection,!cat.!exh.! (Thessaloniki:!State!Museum!of!Contemporary!Art,!2001),!p.47.!! ! 62 then!recall!my!childhood:!the!horses,!flowers!and!roosters!of!the!primitive! murals!and!woodcarvings.!I!sensed!some!bond!between!peasant!art!and!the! icons:!icon!is!a!highRcultural!form!of!peasant!art.’!I!discovered!in!them!the!whole! spiritual!side!of!the!Peasant!Age:!I!came!to!understand!the!peasants!through! icons,!saw!their!faces!not!as!saints,!but!as!ordinary!people.70!! This!means!that!the!icons!have!been!aligned!with!folk!art!or!art!produced!by!not! academically!trained!artists!and!became!prized!by!the!Russian!‘primitives’!such!as! Natalia!Goncharova,!Mihail!Larionov!and!Vladimir!Tatlin.!This!was!paralleled!by!the! opinions!issued!by!artists!such!as!Henri!Matisse,!who!expressed!enthusiasm!about!the! icons!he!viewed!as!‘authentic!popular!art.’71!During!his!visit!to!Moscow!in!1911!he!was! reported!to!have!said:!‘Here!is!the!primary!source!of!artistic!endeavor.!The!modern! artist!should!derive!inspiration!from!these!primitives.’!72!! The!influence!of!the!icon!tradition!is!seen!clearly!in!the!works!by!Vladimir!Tatlin,!who! himself!was!an!icon!painter!till!1913:!! Tatlin’s!formal!choices!–!not!only!in!the!use!of!disparate!materials!or!Factura,! which!had!both!real!and!symbolic!meaning,!but!in!his!spatial!organization!–! derived!from!the!icons.!In!conceptional!Western!art!perspective!may!be!defined! in!term!of!a!pyramid!of!space.!The!tip!of!the!pyramid!is!at!the!farthest!point!in! depth,!behind!the!object,!and!therefore!penetrates!the!wall.!In!the!icon!the!tip!is! in!front!of!the!object,!in!the!viewer’s!eye,!and!the!base!of!the!pyramid!is!the! wall’s!surface.!Thus,!the!icon’s!inverse!perspective!projected!the!object!and!its! meaning!into!the!viewer’s!actual!space,!the!space!of!existential!experience.!In! order!to!emphasize!his!notion!of!“real!materials!in!real!space,”!Tatlin!sometimes! suspended!his!constructions!at!a!distance!from!the!wall.!73!! ! Fig.!59:!Vladimir!Tattlin,!corner!relief,!1914! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 70!Kazimir!Malevich,“!Fragments!from!‘Chapter!from!an!Artist’s!Autobiography!(1933)!‘!quoted!in!Bojana! Pejic,!’The!Icon!Effect,’,!op.cit.,!pp.!46R47! 71!Bojana!Pejic,!’The!Icon!Effect’,!op.!cit.,!p.!47.! 72!Mattisse!quoted!in!Bojana!Pejic,!The!Icon!Effect,!op.!cit.,!p.47! 73!Margit!Rowell,!The!Planar!Dimension!1912F1932:!from!Surface!to!Space,!in!Planes!:!The!Planar!Dimension!– Europe,!1912F1932!(New!York:!The!Solomon!Guggenheim!Foundation,!1979),!p.21.! ! 63 Russian!avantRgarde!artists!did!indeed!question!the!Western!tradition!of!linear! perspective,!as!Vladimir!Markov:!‘There!is!a!perspective!that!is!scientific,! mathematically!verified!and!substantiated!~!constructive;!and!there!is!a!perspective! that!is!nonconstructive!~!Chinese,!Byzantine.!But!which!of!them!displays!more!potential! and!more!beauty!is!still!a!leading!question.’74!Malevich!points!out!the!new!path!to! creating!paintings!and!not!paintings!of!objects.75!The!painting!of!objects!was!given!value! according!to!realistic!representation,!whilst!selfRsufficient!painting,!so!to!speak,!made! the!painting!itself!the!focus!–!a!sublime!object!in!its!own!right.!This!approach!–!initiated! by!icon!painting!–!inspired!Clement!Greenberg!to!write!theory!about!the!paintings!of! Mark!Rothko!and!Barnett!Newman,!leading!to!the!idea!of!the!painting!as!an!object,!or!in! other!words,!as!an!artwork!existing!in!its!own!right.!It!was!at!this!point!in!art!history! that!paintings!were!objects!in!their!own!right,!and!thus:!we!arrive!at!formalism.!This! formalism,!the!language!of!materials,!is!the!substructure!of!my!paintings.! ! Painting'as'a'‘Window’' ! An!aspect!of!a!painting!is!its!capacity!for!transcendence!and!it!has!been!crucial!for!me!to! understand!how!perspectives,!or!the!absence!thereof,!can!signify!or!even!embody!a! specific!time!or!experience.!Pavel!Florensky!and!Erwin!Panofsky!mention!the!idea!of!the! painting!as!a!window!but!with!different!meanings:!whilst!for!Panofsky!the!idea!of!the! window!would!help!to!decode!perspective!in!the!landscape,!Florensky!saw!an!icon!as!a! window!into!a!spiritual!world.!The!painting!is!not!an!illusion!but!a!form!of!reality.!For! spiritual!people,!Florensky!says,!‘the!painting!is!like!glass!in!front!of!a!window!–! meaning!it!will!always!stay!a!worldly!item’.76!It!is!the!spirit!of!the!painter!making!the! icon!a!visionary!window.!If!the!painting!does!not!transfer!a!notion!beyond!its!aesthetics,! it!is!merely!a!painted!piece!of!wood.!! Florensky’s!decisive!thoughts!are!his!belief!in!the!power!of!a!painting,!which!surpasses! the!illusionary!qualities!of!a!painted!surface.!He!attributes!to!painting!the!ability!to!form! something!new,!visualizing!facts!and!transforming!qualities!of!human!spirit.!Painting! has!the!ability!to!produce!an!effect!on!human!thought!for!which!no!verbal!language! exists.!Contemporary!writer!and!philosopher!Paul!Virilio!questions!the!definition!of!a! painting!as!an!open!window.!He!considers!what!remains!of!this!optical!metaphor!today.! Staring!at!screens!is!leading!to!humanity’s!inability!to!perceive!the!phenomenological! reality!of!the!environment!–!its!life!support!system.77!The!idea!of!a!painting!as!a!window! guides!me!to!use!the!medium,!which!I!believe!can!open!up!a!vast!expanse.!Pavel! Florensky’s!Iconostasis!demonstrates!that!perspective!could!be!a!tool!to!work!with!–!just! as!with!any!other!material.!Through!this!influence!I!realized!that!the!use!of!perspective! in!paintings!has!an!inherent!power,!one!that!I!can!use!on!a!twoRdimensional!surface!and! as!well!in!a!threeRdimensional!painted!space.!Both!paintings,!cloud!and!trout,!are! showing!depth!but!the!pictorial!field!is!flattened.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 74!Vladimir!Markov,!The!principles!of!the!New!Art,!(1912),!in!Russian!Art!of!the!Avant!Garde!–!Theory!and! Criticism,!(London:!John!E.!Bowlt!ed.,!Thames!and!Hudson![1975]!1998),!p.!28.! 75!Malevich!in!Hubert!Damisch,!The!Origin!of!Perspective,!op.!cit.,!p!29.! 76!Pavel!Florensky,!Iconostasis!(New!York:!Crestwood,!1996),!p.!70.! 77!Paul!Virilio,!Art!as!Far!as!the!Eye!Can!See!(Oxford!and!New!York:!Berg,!2007),!p.!21.! ! 64 ! Fig.!60:!trout,!2013,!egg!tempera!and!oil!on!canvas,!110!x!110!cm! These!paintings!seem!informal,!abstract!even,!but!on!a!closer!examination!one!can! distinguish!shapes!embedded!within!the!abstraction.!Initially!these!paintings!began!with! cartoonish!drawings!of!a!mutated!trout!and!an!invented!mutant.!My!aim!was!to!dissolve! the!figuration!in!what!could!be!the!bird’sReye!view!over!a!landscape.!My!elaboration!of! the!painting!as!window!the!art!historian!Johannes!Honeck!describes!as!‘with!this! localization!of!perspective,!the!work!opened!up!and!became!a!‘window’!to!a!new! reality.’78!! ! Fig.!61:!cloud,!2016,!aluminium,!egg!tempera!and!oil!on!canvas,!213!x!170!cm! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 78!Johannes!Honeck,!Hybrid!Worlds!–!From!the!Surface!to!Space!out!of!Time,!in!Claudia!Chaseling!–!Spatial! Painting!(Berlin:!Benedikt!Stegmayer!ed.,!Verlag!fuer!zeitgenoessische!Kunst!und!Theorie,!2016),!p.!145.! ! 65 ! Fig.!62:!Buechel,!2016,!egg!tempera!and!oil!on!canvas,!213!x!170!cm! ! Beyond'Central'Perspective'Illusionism'' ! Central!perspective!is!defined!by!naturalism.!Naturalism!is!distracting!for!the!potential! of!a!painting!and!the!aura!it!can!generate.!French!phenomenological!philosopher! Maurice!MerleauRPonty!states:!! space!is!not!what!it!was!in!the!Dioptrics,!a!network!of!relations!between!objects! such!as!would!be!seen!by!a!third!party,!witnessing!my!vision,!of!by!a!geometer! looking!over!it!and!reconstruction!it!from!outside.!It!is,!rather,!a!space!reckoned! starting!from!me!as!the!null!point!or!degree!zero!of!spatiality.!I!do!not!see!it! according!to!its!exterior!envelope;!I!live!it!from!the!inside:!I!am!immersed!in!it.! After!all,!the!world!is!around!me,!not!in!front!of!me.!79! This!quote!speaks!about!how!space!can!be!acknowledged!and!about!how!I!want!to! address!space!in!my!work!–!not!as!an!image!but!as!a!sensation.!! In!the!beginning!of!my!research!I!was!interested!in!Donald!Judd’s!installations!as! examples!for!formalist!art.!Investigating!his!work!and!theory!I!came!to!understand!that! it!has!a!deeply!human!motivation,!based!in!experiencing!space.!Therefore,!Donald!Judd’s! large!installations!and!his!early!paintings!from!the!1950s!are!an!important!reference!for! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 79!Maurice!MerleauRPonty,!Eye!and!Mind!(1964),!p.!12,!accessed!May!15,!2018!at!! http://www.biolinguagem.com/.../merleauponty_1964_eyeandmind.pd! ! 66 my!research!about!perspective!in!art.!Judd’s!ideas!fascinate!me,!which!I!began! discovering!when!exploring!his!major!work!untitled!(1986)!–!100!aluminium!boxes! installed!in!Marfa,!Texas.!He!was!also!interested!in!the!landscape.!Judd!was!working! between!the!twoR!and!the!threeRdimensional!with!a!primary!focus!on!colour!and!a!deep! interest!in!how!materials!could!be!used!in!the!space.80!These!are!the!aspects!that!make! his!work!an!artist!of!interest!for!my!research,!as!my!colourful!work!is!hovering!between! twoR!and!threeRdimensions.! Judd!himself!called!his!work!‘sufficiently!complex’,81!which!is!obvious!when!observing! this!work!in!the!Texan!desert,!made!of!large!sheds,!walls!of!square!glass!windows!and! 100!detailed!and!differently!composed!aluminium!boxes,!none!of!which!resemble!one! other.82!Judd!himself!felt!conflicted!when!being!described!by!critics!as!a!Minimalist,! because!of!the!complexity!of!his!work.!I!see!his!installation!as!not!being!reduced!to! purely!materialRbased!art,!as!the!definition!of!Minimalism!explains,!because!the!work!is! structured!out!of!many!elements.!The!outcome!is!rather!ephemeral,!even!spiritual!and! in!my!eyes!he!deals!with!the!subject!matter!of!space.!I!see!his!work!as!intuitive.!His! artwork!is!deprived!of!narrative!and!representation.!In!this!respect!Judd’s!work!fits,!it!is! not!an!illusion!of!space!or!landscape,!but!reflects!a!sense!of!the!space!or!landscape.! ! Fig.!63:!Donald!Judd,!100!Aluminium!Boxes,!installaed!in!Marfa,!Texas,!photographed!2010! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 80!Donald!Judd,!Some!aspects!of!colour!and!red!and!black!in!particular,!Donald!Judd!Colorist,!ed.!Elger.! Dietmer!(OstfildernRRuit:!Hatje!Cantz,!1993),!p.!79.! 81!Roberta!Smith,!2000!9th!June,!Art!in!Review;!Donald!Judd!/Dia!center!of!the!arts!The!New!York!Times,! accessed!March!30,!2013,!http://www.nytimes.com/2000/06/09/arts/artRinRreviewRdonaldR judd.html?src=pm!! 82!Roberta!Smith,!9th!June!2000!Art!in!Review;!Donald!Judd!/Dia!center!of!the!arts!The!New!York!Times,! accessed!March!30,!2013,!http://www.nytimes.com/2000/06/09/arts/artRinRreviewRdonaldR judd.html?src=pm!! ! 67 In!1964!Judd!wrote!a!manifesto!titled!Specific!Objects.83!In!this!essay,!Judd!defined!a! starting!point!for!a!new!territory!for!American!art,!and!simultaneous!rejected!residual! inherited!European!artistic!values!–!these!values!being!illusion!and!represented!space.! This!challenged!the!classical!European!ideals!of!representational!sculpture!and!initiated! a!totally!new!way!of!thinking!about!art.!The!works!that!Judd!had!fabricated!inhabited!a! space!that!could!not!be!comfortably!classified!as!either!painting!or!sculpture.!He! succeeded!in!refusing!to!call!them!sculpture,!pointing!out!that!they!were!not!sculpted! but!made!by!small!fabricators!using!industrial!processes.!He!said!that!‘methods!should! not!matter!as!long!as!the!results!create!art,’84!a!ground!breaking!concept!in!the!accepted! creation!process.!He!defines!space!as!something!inRbetween!things.!This!inRbetween!is! substantial!in!his!art,!together!with!the!colour!and!material.85!Whereas!Judd!terms! traditional!sculpture!‘a!rock!with!complications,’86!new!art!deals!with!space.!For!him,!the! focus!of!traditional!painting!on!a!flat!surface!is!not!compatible!with!a!developed!interest! in!colour,!as!depiction!of!objects!in!their!space!is!concerned!with!a!simulation!of! reality.87!! It!is!this!simulation!in!painting!that!I!strive!to!work!against.!As!mentioned!above!I!see! the!Minimalist,!material!based!approach!in!art!(formalism)!as!a!tool!to!be!used.!In!my! work!I!concentrate!on!the!materiality!of!the!work,!its!dimension!outside!the!picture! plane,!the!space!in!which!my!work!is!situated,!the!pigments!with!which!I!paint,!shapes! and!also!on!possibilities!to!develop!the!‘object!painting’.!This!is!what!I!cannot!ignore! since!encountering!Judd’s!work.!He!founded!a!new!level!of!questioning!in!every! dimension!of!art!–!how!to!constantly!include!more!elements!in!the!work.!Judd!broke! down!inherited!traditions,!which!do!not!necessarily!fit!into!his!time.!The!interest!in!the! inRbetween!objects!and!how!to!use!space!in!art!I!could!define!through!investigations!into! Judd’s!oeuvre.!! I!constantly!question!which!materials!I!use!to!make!a!certain!work,!what!my! possibilities!are!and!how!I!can!find!a!clear!result.!One!example!is!my!installation!of! painted!concrete!objects!in!a!forest!setting.!Whilst!I!will!speak!more!about!the!form!of! these!objects!later!in!this!thesis!I!mention!these!now!to!give!an!example!for!my!search! for!further!perspectives!and!for!painted!forms!in!space.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 83!Donald!Judd,!‘Specific!Objects’!(1965),!reprinted!in!Art!in!Theory!1900F1990!(Oxford!and!Cambridge:!ed.! Charles!Harrison!and!Paul!Wood,!1992),!pp.!809R813.!Also:!‘Introduction’,!in!Donald!Judd!F!Colorist,! (Cologne:!ed.!Dietmar!Elger,!Hatje!Cantz,!2000),!p.!17.!Also:!Donald!Judd,!1993,!Some!aspects!of!colour!in! general!and!red!and!black!in!particular!(OstfildernRRuit!Elger,!ed.!Dietmar!Elger,!Hatje!Cantz,!2000),!! pp.!79R116.!! 84!Wikipedia,!Donald!Judd,!early!work,!http://en.wikipedia.org/wiki/Donald_Judd!! 85!Donald!Judd,!Some!aspects!of!colour!and!red!and!black!in!particular,!Donald!Judd!F!Colorist,!ed.!Elger.! Dietmer,!op.!cit.,!p.!84.! 86!Ibid.,!p.!81.! 87!Ibid.,!p!82.! ! 68 ! Fig.!64:!Bars,!Strelka!and!Anita,!2013,!egg!tempera!and!oil!on!concrete,!165!x!45!cm!diameter,! 3!Haeuser!Kunst!Pfad,!Eifel,!Germany! I!also!investigated!the!work!of!contemporary!SwissRFrench!artist!Felice!Varini!(*1952)! who!since!1978!has!used!a!technique!he!calls!‘painting!in!space’88.!Geometric!forms!are! applied!to!walls,!floor!and!ceiling!of!interior!and!exterior!architecture.!Large!sticky!tapes! are!used!in!his!practice!to!draw,!for!example,!five!large!circles!onto!cityscapes.!From!one! particular!viewpoint!the!onlooker!can!see!the!precise!circles!on!the!buildings.!If!the! observer!moves!away!from!this!viewpoint!only!fragments!of!the!circles!can!be!seen.!To! transform!my!drafts!into!the!threeRdimensional!space!I!use,!as!mentioned!in!Chapter!1,! this!method!of!one!viewpoint.!Varini!uses!a!projector,!whilst!I!use!my!eyesight!and!a! laser,!to!continue!lines!above!corners!and!the!curves!of!the!architecture.!The!result!is!an! optical!flattening!of!space,!seen!from!this!viewpoint.!I!developed!this!technique!and!use! reverse!perspective!through!which!I!can!deform!the!perception!of!the!space.!The!colour! compositions!Varini!applies!to!the!architecture!transcribe!the!volumes!of!the!buildings.! In!my!paintings!I!transcribe!the!interior!architecture.!The!result!of!both!methods!is!a! visual!flattening!of!the!environment.! Varini!stops!at!the!formal!aspects!of!his!painting.!The!term!social!formalism!is!used!in! the!context!of!Varini’s!work!because!geometric!forms!might!be!able!to!represent!social! structures.89!I!doubt!this!claim.!Geometry!can!be!symbolic!and!representative!of! concepts.!The!lightness!and!reduced!vitality!of!his!comprehensive!painting!in!space!does! leave!room!for!further!content.!Complete!in!itself!Varini’s!painting!is!formalism!beyond! materials.!His!approach!to!the!architecture!is!as!if!‘he!would!read!a!poem!from!Rimbaud,! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 88!Donna!Schons,!‘Auf!dem!Dach!der!Leuchtenden!Stadt,’!Monopol!Magazin,!July!8,!2016,!accessed!May!14,! 2017,!https://www.monopolRmagazin.de/amRhoechstenRpunktRderRleuchtendenRstadt! 89!Kunsthalle!Osnabrück,!‘Felice!Varini:!Vier!Blaue!Kreise!R!Marktplatz!Osnabrück,’!Press!text,!accessed!May! 15,!2017,!http://kunsthalle.osnabrueck.de/usstellungen/ktuell.html!R!c11939! ! 69 or!if!he!would!hear!a!song!from!Pink!Floyd’90!–!a!statement!I!would!have!not!guessed.! The!titles!of!the!paintings!do!not!refer!to!a!concept!and!mostly!describe!geometry.!The! paintings!are!reduced!to!a!few!colours!and!the!final!work!is!precise!geometry!in!a!static! space.!In!the!end!the!painting!creates!its!own!dialogue!with!the!architecture!and!forms! appear!which!the!artist!did!not!plan.!The!reason!for!this!is!that!unexpected!distortion! occurs!when!the!onlooker!moves!away!from!the!perspective!envisioned!by!the!artist! when!the!work!was!constructed.!Varini!calls!this!occurrence!‘productive!anarchy’.!! In!similar!ways!the!architectural!geometry!in!my!work!is!overwritten!but!this!is! achieved!through!colour.!I!don’t!stop!until!I!find!the!dynamic!of!my!draft!in!the!painted! space.!The!idea!is!imposed!into!the!architecture!so!that!the!overpowering!physical! experience!of!the!space!matches!the!small!preceding!draft.!The!diversion!is!clear! between!our!works!but!the!method!of!flattening!the!space!through!colourRforms!is!on! par.! The!French!photographer!George!Rousse’s!(born!in!1942)!work!is!related!to!Varini’s! concerning!the!use!of!one!viewpoint!and!overwriting!architecture.!Rousse’s!work! encompasses!photography,!drawing,!painting,!sculpture!and!architecture,!whist!the! essential!material!is!the!interior!of!deserted!buildings!and!occasionally!the!exterior!of! these!buildings.!The!aim!of!his!work!is!not!to!experience!this!space!but!his!photograph.! In!his!work!he!reacts!to!the!space!and!gives!it!a!new!identity.!While!they!evoke!the! memory!of!a!place!and!its!poetic!metamorphosis,!his!photographs!deal!with!mankind's! problematic!relationship!to!the!time!in!industrialized!society,!and!the!traces!he!leaves! behind!on!the!environment.!Forgotten,!neglected,!in!ruins!or!slated!for!destruction,!the! sites!selected!for!his!installations!act!as!a!metaphor!for!time!as!it!hurtles!toward!death.! By!transforming!these!sites!into!works!of!art,!Rousse!offers!them!a!new!fleeting!reality.! When!he!takes!photographs,!he!stops!time,!fixing!an!image!in!which!traces!of!the!past! intermingle!with!his!recent!artistic!actions!–!an!image!of!hope!and!energy,!an!image! devoid!of!nostalgia.!His!photographs!masterfully!bring!together!painting,!architecture! and!drawing!and,!in!the!end,!they!carve!out!a!new!space!in!which!the!artist's!fictive! world!becomes!visible.!! Whilst!Varini’s!work!could!be!seen!as!a!visual!game,!Rousse’s!work!combines!formal! methodology!and!complex!concepts!about!places!and!contemporary!times.!Rousse! defines!every!element!of!his!work:!location,!history,!painting!in!the!space,!the!photo!and! the!perspective!he!uses!to!take!the!photo.!In!contrast!to!my!Spatial!Paintings,!the! location!and!its!history!is!the!deciding!part!in!his!work!and!the!reason!for!the!resulting! photograph.!Varini,!Rousse!and!I!flatten!threeRdimensional!space!optically.!This!is!a! stylistic!device!that!we!share,!but!we!have!different!aims.!Optically!flattening!space! allows!me!to!compose!it!in!a!similar!way!to!how!I!compose!my!paintings!on!canvas!and! paper.!Rousse!and!Virini’s!works!are!a!simulation!in!which!confusion!between!the!real! and!the!image!is!generated.!Varini’s!work!stays!in!the!formalist!realm!whilst!Rousse! adds!content!to!the!artwork!and!resulting!image.!The!outcome!in!all!of!our!works!is!that! our!art!manifests!the!interplay!between!picture!and!space.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 90!Donna!Schons,!‘Auf!dem!Dach!der!Leuchtenden!Stadt,’!Monopol!Magazin,!July!8,!2016,!accessed!May!14,! 2017,!http://www.monopolRmagazin.de/amRhoechstenRpunktRderRleuchtendenRstadt! ! 70 A!painter!I!admire!who!subtly!swings!between!the!twoR!and!threeRdimensional!in! painting,!but!plans!the!works!twoRdimensionally!–!like!myself!–!is!the!American! Elizabeth!Murray!(1940–2007).91!Her!shaped!canvasses!are!collaged!and!expand!into! space.!The!playful!paintings!seem!like!a!mixture!between!biomorphic!abstraction!and! elements!from!comic!drawings!–!abstract!and!at!the!same!time!figural.!The!contrasting! forms!she!uses!–!for!example!hard!corners!and!round!volumes!that!interact!–!she!refers! to!as!being!metaphorical.!In!an!interview!with!art21!she!describes!her!work!process!as! ‘looking!for!a!resolution’92!and!that!she!shapes!the!painting!support!out!of!wood.!Murray! points!out!that!the!negative!spaces!coming!from!the!wall!behind!the!collaged!painting! play!an!important!role!and!add!more!contrast!to!the!painting.!The!material!is!like!a! canvas!but!in!various!forms,!which!she!then!composes,!attaches!and!paints!onto.!Her! resulting!works!are!funny!and!serious,!humorous!and!tragic.!This!is!the!notion!she!is! aiming!for,!because!she!perceives!as!such.!! I!write!about!Murray!due!to!our!works!relating!in!many!ways:!our!semiRabstract! language,!use!of!negative!shapes,!the!shaped!canvasses!and!especially!the!resulting! threeRdimensional!paintings,!which!are!planned!flat.!Whilst!using!different!content,! Murray’s!subject!matter!in!my!opinion!is!life!itself;!both!of!our!works!melt!content!and! form!using!both!narrative!and!abstraction.93! Ultimately,!my!research!into!the!historical!meaning!of!perspective!has!defined!my! painting!process.!As!such,!I!now!focus!on!distorting!space!by!using!paint.!It!has!led!me!to! the!conclusion!that!the!potential!for!Spatial!Painting!has!significant!possibilities.!The! next!chapter!of!this!thesis!will!explore!the!means!through!which!I!further!refined!my! investigations!into!contemporary!perspectives!and!what!this!has!meant!for!my!art! practice.! ! Fig.!65:!Elizabeth!Murray,!MOMA,!New!York!City,!photographed!2018! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 91!“Bop“!and!the!Process!of!Painting!–!Elizabeth!Murray,!Art!in!the!TwentyRFirst!Century,!Season!2!episode! “Humour“,!2003,!accessed!August!9,!2018,!https://art21.org/read/elizabethRmurrayRbopRandRtheRprocessR ofRpainting/! 92!Ibid.!! 93!There!are!many!other!contemporary!artists!whose!works!explore!extended!painting!–!those!include! Hrafnhildur!Arnadottir!aka!Shoplifter,!Yayoi!Kusama,!Judy!Pfaff!and!Mark!Titmarsh.!Whilst!I!see!Titmarsh!as! working!in!an!exclusively!formalist!tradition!the!other!artists!work!with!formalism,!extending!painting!but! at!the!same!time!transmitting!subject!matters.!A!‘not!only!formalist’!approach,!the!combination!of!formal! thinking!with!communicating!content!is!where!I!locate!my!work.! ! 71 CHAPTER'THREE:'MUTATIVE'PERSPECTIVE'AS'MY'TOOL' ! …!the!representation!of!a!square!on!a!line,!or!of!a!volume!on!a!plane!or!a!line,! really!does!communicate![some]!points,!but!it!is!incapable!of!communicating!the! form!of!the!thing!represented!as!a!whole,!as!an!object!whose!structure!is! internally!defined.!The!content!of!space!is!transmitted.!but!not!its!organisation.! In!order!to!represent!a!given!space!with!all!of!the!points!that!comprise!its! content,!figuratively!speaking!one!must!either!grind!it!into!the!finest!of!powders! and!then,!having!carefully!stirred!it,!sprinkle!it!over!the!depicted!surface!so!that! no!trace!of!its!initial!organisation!remains.! ! ! ! ! ! ! Pavel!Florensky,!Reverse!Perspective!94! This!passage!by!Florensky!points!out!that!central!perspective!is!a!method!for!depicting! space!analytically.!However,!it!does!not!convey!its!atmospheric!essence.!If!the!essence!of! the!visual!information!is!fully!comprehended,!the!artist!can!bring!meaning!into!the! painting.!I!describe!in!this!chapter!my!own!techniques!and!novel!methods!for! understanding!and!picturing!space.! The!term!SiteFmutative!captures!my!concept!in!art:!it!describes!a!process!of!undergoing! change,!being!in!transition!and!taking!on!a!new!form,!a!new!sense!of!space.!I!will!explore! in!this!chapter!how!mutative!perspective!responds!to,!and!most!importantly,! investigates!our!time.!I!describe!my!exploration!of!distortion,!the!infiltrated!perspective! and!my!use!of!negative!shapes!in!painting,!and!the!notion!of!dissolving!–!aspects!on! which!I!focus.!Further!I!speak!about!my!discovery!of!making!and!painting!on!oval! shaped!canvasses!and!how!oval!canvasses!concern!my!use!of!perspective.!I!speak!about! the!relation!of!my!work!to!other!contemporary!artists!who!work!with!the!idea!of! fragmentation,!which!in!my!opinion!is!a!prelude!to!the!concept!of!dissolving.!A!short! section!is!devoted!to!the!contemporary!philosophers!Jean!Baudrillard!and!Paul!Virilio,! who!have!influenced!my!thinking!about!our!contemporary!times.! ! ! ! Fig.!66!and!67:!the!shadow!of!things!go!further!than!one!can!see!with!eyes!and!testing!the!future,!2015,! watercolour!and!pencils!on!paper,!each!38!x!24!cm! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 94!Pavel!Florensky,!Iconostasis!(New!York:!Crestwood,!1996).!German!translation:!Urbild!und!Grenzerlebnis! im!revolutionären!Russland!(Stuttgart:!Verlag!Urachhaus,!Johannes!M.!Mayer,!1990),!pp.!25R26.!! ! 72 Distorted'Perspective'and'SiteKmutative'Painting' ! Distortion!can!happen!in!form!of!an!electrical!signal!or!sound!wave.!This!can!take!place! in!music,!especially!since!the!2000s.!95!!I!use!this!term!to!describe!the!distorted!view!and! understanding!caused!by!the!digital,!a!fast!and!variable!information!flow!of!our!time.! The!analogue!world!is!the!reality!I!live!in.!The!digital!can!alter!and!distort!information,! imagery!and!our!whole!reality!in!a!fraction!of!time!–!or!fully!delete!it.!Jean!Baudrillard! writes!about!the!confusion!between!what!is!‘real’,!hyper!real!and!an!apparent! appearance96.!The!appearance!is!the!reality!he!claims;!but!what!happens!when!the! appearances!are!detached!from!the!world,!as!they!are!now!in!the!digital!age?!! It!is!this!sense!of!distortion!I!integrate!in!my!Spatial!Paintings!through!the!use!of!semiR reflective!aluminium!shapes.!The!murky!reflective!aluminium!shapes!interrupt!the! painted!surface,!show!optical!depth!and!at!the!same!time!reflect!dubious!visions.!I!am! not!looking!for!a!clear!reflection,!but!for!this!distorted!view!that!the!aluminium!is! generating.!If!I!would!use!a!mirror!that!directly!reflects!part!of!the!painting!it!would!not! create!the!look!I!aim!for.!! ! Fig.!68:!blender,!detail! In!Chapter!1,!I!discussed!the!painting!blender.!In!this!work!I!had!used!aluminium! pigments!in!large!areas!on!the!floor!with!the!aim!of!reflecting!the!painting!on!the!wall! and!to!extend!the!painting!optically!into!the!ground.!! Other!than!the!aluminium!sheets!the!pigment!shows!irregular!brush!strokes!that!break! the!light!when!hitting!the!pigment.!The!result!is!a!muddled!look!that!does!not!allow!for!a! contrast!between!the!murky!reflection!and!the!deep!field,!like!unwrinkled!flat!sheet! aluminium!does.!My!desired!result!was!not!achieved!because!the!silver!aluminium! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 95!Oxford!Dictionary,!accessed!February!8,!2017,!https://en.oxforddictionaries.com/definition/distortion! 96!Jean!Baudrillard,!Warum!ist!nicht!schon!alles!verschwunden?!(Berlin:!Matthes!&!Seitz,!2007),!translated!by! Sedlaczek!Markus.!English!version:!Jean!Baudrillard,!Why!Hasn't!Everything!Already!Disappeared?!(Chicago:! Seagull!Books,!2009).! ! 73 pigment!did!not!reflect!strongly!enough,!nor!did!the!pigment!optically!separate!clearly! from!other!pigments.!It!was!clear!that!I!had!to!exchange!pigment!with!sheet!material! and!instead!of!painting!I!would!use!cut!out!forms!in!the!future.!I!found!hard!aluminium! with!a!thickness!of!0.1!mm!the!best!fit!for!my!work:!I!can!still!form!it!like!painted!shapes! but!with!scissors!instead!of!a!brush,!and!it!does!not!crinkle!easily!as!the!soft!or!thinner! version.! ! Fig.!69:!Murphy!and!other!mutants,!detail,!2013! In!the!Spatial!Painting!Murphy!and!other!mutants!(2013)!I!collaged!over!a!period!of!6! weeks!various!shapes!of!aluminium!on!to!the!painted!wall!and!an!oval!painting!on!paper.! First!results!were!tinsel!like!and!my!painting!resembled!a!Christmas!tree.!Then!I! developed!precise!forms,!which!offered!tension!for!the!Spatial!Painting!and!also!added! distortion!to!the!work.!Continuing!from!this!discovery!I!created!several!Spatial!Paintings! with!aluminium!and!this!material!became!irreplaceable.!! ! 74 ! Fig.!70:!cloud,!2014,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!300!x!1000!x!300!cm,! Mural!Projects,!Volta!10,!Basel! The!Spatial!Painting!cloud,!which!I!realized!in!Basel!in!2014,!was!made!with!colour! pigments!and!aluminium!shapes!covering!3!m!x!10!m!x!3!m.!The!overall!shape!of!the! work!captured!the!silhouette!of!a!small!atomic!cloud,!like!to!ones!caused!by!explosions! of!depleted!uranium!munitions.!It!was!constructed!of!aluminium!with!the!painted! composition!emerging!through!the!material.!The!reflection!of!the!aluminium!was! reduced!because!it!reflected!itself!and!only!occasionally!the!painted!colours.!! In!my!next!Spatial!Painting!I!would!need!to!plan!precisely!each!reflection.!The! aluminium!applied!in!my!paintings!addresses!the!unknown!outcome!of!radioactive!and! environmental!pollution!and!it!captures!the!ambiguity!of!our!time.!! The!negative!shapes!of!cloud!were!white!and!merged!into!the!silvery!aluminium!making! the!work!bright!and!aggressive.!The!Milori!blue!forms!built!a!contrast!and!separated!the! silver!and!white!areas,!as!did!the!yellow!and!pink!fluorescent!colours.!I!extended!the! dark!floor!with!black!ink!up!the!wall!as!if!the!shape!of!the!cloud!could!pull!up!the!ground! whilst!tilting!it!to!the!right!side.!I!had!placed!one!canvas!into!this!Spatial!Painting,!which! depicted!an!invented!mutant97!(Fig.!150,!p.!146)!floating!in!an!absurd!abstract!landscape! without!horizon!lines!and!any!central!perspective.!! From!one!viewpoint!this!Spatial!Painting!became!flat!and!showed!the!irregular!cloudR form.!I!wanted!to!alter!the!logical!context!between!floor!and!wall.!It!was!not!siteRspecific! but!siteFmutative.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 97!The!invented!mutants,!is!a!series!of!clay!objects!I!made!in!2012.!I!use!these!forms!often!as!motifs!for!my! paintings.!! ! 75 ! Fig.!71:!cloud,!detail,!with!painting!on!canvas!mutant!1,!2013,!egg!tempera!and!oil!on!canvas,!150!x!150!cm! ! ! ! ! ! ! Fig.!72:!inquisition,!detail,!2016,!ink,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas! ! 76 My!next!step!was!to!use!aluminium!in!large!areas!on!the!floor!so!that!the!colours!of!the! wall!would!be!reflected!and!distorted,!expanding!and!‘opening!up’!the!floor.!In!the! painting!carousel!(2014,!Fig.!46,!p.!49)!I!reached!this!step.!The!painting!is!nearly!6! meters!deep!but!because!of!using!reverse!perspective!the!space!optically!shrinks!to! appear!as!a!flat!surface.!I!call!this!optical!flattening!of!the!threeRdimensional!space!and! the!elimination!of!all!central!perspective:!antiRperspective.!The!mutated!perspective!was! the!next!step:!a!flattened!space!and!the!distortion!of!forms.!Using!Aluminium!on! paintings!on!canvas!I!realized!that!both!materials!do!not!merge!easy.!The!sheet! aluminium!has!the!ability!to!cut!the!soft!canvas!and!to!break!off.!In!later!works!I! experimented!with!leaf!aluminium,!a!cheaper!substitute!of!leaf!silver.!I!will!write!in! Chapter!4!about!the!first!positive!results!of!using!leaf!aluminium!on!canvas.! In!the!painting!inquisition!(2016)!I!resolved!some!issues!regarding!the!capacities!of! using!aluminium.!I!painted!eighteen!drafts!carefully!placing!the!aluminium!in!the! composition.!My!aim!was!to!find!positions!for!the!aluminium!sheets!that!would!reflect! the!colour!of!the!painting!and!as!well!create!the!highest!sense!of!distortion.!Between!the! floor!and!wall!elements!of!the!aluminium!a!strong!explosive!tension!was!formed.!Nearly! the!whole!colourful!wall!painting!reflected!onto!the!floor!creating!a!wired!confusion!of! close!elements!and!the!distance!inside!the!light!grey!shiny!material.!I!connected!the! floor!and!wall!sections!through!aluminium!shapes,!which!travelled!up!the!whole!wall!to! underneath!the!ceiling,!making!sharp!arrows,!which!is!what!I!wanted!to!achieve!with! this!material.!! ! Fig.!73:!inquisition,!2016,!ink,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!290!x!800!x!310!cm,! Galerie!Dirk!Halverscheid,!Munich! ! 77 ! Fig.!74:!inquisition,!detail! The!room!exists!in!my!work!to!carry!the!painting,!but!it!has!no!influence!on!the!work’s! concept.!I!had!the!idea!to!call!my!process!SiteRmanipulative,!but!this!term!does!not!fit!for! several!reasons.!Manipulation!is!creating!illusions.!Instead,!I!follow!Florensky’s!belief! that!art!has!the!ability!to!create!something!new.!My!aim!is!not!to!manipulate!the!space! and!create!an!optical!illusion,!but!my!painting!is!siteFmutative,!which!captures!my! concept!in!art:!it!describes!something!undergoing!change,!being!in!a!transition,!leading! to!a!new!sense!of!space.! ! Oviform'Paintings' ! I!came!to!question!the!shape!of!the!canvases!that!I!use.!Reflecting!on!the!visual! appearance!of!my!Spatial!Paintings,!I!realized!a!formal!contradiction!between!the! biomorphic!abstraction!of!the!painted!shapes!and!the!rigid!traditional!form!of! rectangular!canvasses.!The!overall!dynamic!of!my!paintings!is!biomorphic,!so!why!use! rectangular!canvases?!It!is!important!to!hang!canvases!into!the!wallRfloorRceiling! paintings!to!add!detailed!and!refined!forms!and!content,!so!I!had!to!find!an!answer.! Whilst!I!aim!for!formal!contradictions!in!the!paintings!on!canvas,!the!formal!discrepancy! between!paintings!on!canvasses!and!on!walls!would!become!problematic.!My!latest! research!initiated!the!construction!of!shaped!stretcher!bars!for!paintings!on!canvas,! with!the!aim!to!merge!them!with!the!threeRdimensional!Spatial!Paintings!on!walls.! ! 78 ! Fig.!75!and!76:!another!gift!1!and!another!gift!2,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,! oviform!56!x!40!cm!and!52!x!38!cm! ! ! ! ! ! ! ! Fig.!77:!future!told!me!she!has!a!head!ache,!2017,!leaf!aluminium,!egg!tempera!and!oil!on!wall,!floor!and! canvas,!270!x!350!x!500!cm,!Art!Omi!International!Artists!Residency,!Ghent,!New!York! ! ! 79 ! Fig.!78:!future!told!me!she!has!a!head!ache,!detail:!three!oviform!paintings!on!canvas! When!exploring!convincing!biomorphic!forms!for!new!canvases!I!chose!an!oval!shape! with!one!end!being!narrower!than!the!other.!I!chose!a!form!that!contains!spatial! qualities!and!it!needed!to!be!simple!because!the!painting!I!create!on!this!surface!is! highly!complex.!A!crazy!shaped!canvas!would!lead!to!the!collapse!of!my!complex! compositions.!The!oval!shape!of!this!new!series!of!paintings!can!distort!to!a!circle!when! seen!sideways!from!an!angle.!When!seen!frontally!the!paintings!will!reveal!their! irregular!oval!shapes.!I!can!use!the!reverse!perspective!of!these!canvasses!as!well:!the! larger!end!will!always!seem!to!come!towards!the!observer!whilst!the!narrower!end!will! seem!further!away.!I!decided!to!call!these!shaped!canvasses!oviform.!These!shapes!are! halfRsymmetrical!and!only!possible!to!be!mirrored!via!one!axis.!! My!first!series!of!oviforms!are!flat,!like!my!rectangular!canvasses,!in!3!different!sizes!but! with!the!same!proportions.!The!next!shape!I!will!use!for!canvas!paintings!will!be!similar! oviforms!but!longer.!In!the!future,!I!will!develop!more!shapes!for!canvasses!like! including!oblongs,!pyriforms!or!pisiforms,!cassini!oval!shapes!and!maybe!vesica!piscis! forms.!This!latest!series!of!paintings!reached!my!aspiration!to!make!the!shape!of! canvasses!spatial!and!to!include!threeRdimensional!distortion!through!changing! viewpoints.!Now!this!result!is!achieved!because!the!shapes!of!the!oviforms!are!directly! extracted!from!the!largeRscale!paintings!on!walls.!! ! 80 ! Fig.!79:!involution,!detail:!silent!chain!1,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!oviform!canvas! ! ! ! ! Fig.!80:!involution,!detail:!silent!chain!1,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!oviform!canvas! ! 81 ! Fig.!81:!silent!chain!1,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!oviform!200!x!120!cm! Technically!I!first!considered!using!a!different!material!than!canvas!and!wooden! stretcher!bars!and!used!materials!that!could!be!cut!and!shaped!easily!like!plastic!or! paper.!The!outcome!of!these!investigations!was!that!for!painting,!canvas!stretched!on! wooden!bars!is!the!ideal!material:!the!stretcher!itself!is!long!lasting;!paint!sticks!well!to! the!canvas!surface!and!the!flexibility!makes!the!painting!robust!and!lightweight.!The! stretched!canvas!as!an!object!can!be!arranged!in!all!locations:!hanging,!standing!and! laying!on!the!ground.!Therefore!it!will!stay!my!preferred!material!on!which!to!paint.!I! can!use!the!oviforms!like!puzzle!parts!for!the!Spatial!Paintings.98!For!constructing!the! stretchers.!a!digital!file!had!been!defined!to!conserve!the!form,!which!can!be!shrunk!or! enlarged.!The!oviform!shapes!for!the!stretchers!have!been!cut!out!of!4!mm!multiplex! wood.!For!stretching!canvas!onto!these!stretchers!the!staples!had!to!be!set!closer!to! each!other!to!prevent!buckles!on!the!stretched!canvas.! ! Infiltrated'Perspective'and'Negative'Shapes''' ! In!this!subchapter!I!write!about!my!investigations!into!how!to!paint!the!subject!matter! of!fragility!–!specifically!of!substances!that!have!been!invisibly!deteriorated!by!radiation.! Negative!shapes!carry!a!crucial!role!in!visually!tackling!this!content.!Negative!shapes!are! areas!that!work!actively!in!the!composition!but!are!left!unpainted.!I!discovered!that!the! vacuum!of!a!negative!space!in!a!painting!could!be!seen!as!antiRlinear!perspective,!an! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 98!One!other!artist!has!used!the!oviform!shape!before:!Lucio!Fontana’s!canvasses!called!Fine!di!Dio!(1963)! are!exactly!the!shape!of!my!new!series!I!call!oviform!paintings.!As!in!his!paintings!my!association!is!not!the! eggs!shape,!but!a!traditional!canvas!with!round!edges!and!reverse!perspective!being!part!of!the!form!of!the! canvas,!not!just!painted!reverse!perspective.!I!will!again!mention!Lucio!Fontana!in!the!subchapter!Infiltrated! Perspective.! ! ! 82 area!that!is!part!of!the!composition!of!the!painting!but!characterized!by!absence.!I!use! negative!shapes!in!two!ways:!as!a!reductive!process!creating!text!out!of!negative!shapes! and!through!pouring!paraffin!splashes.!In!the!Spatial!Paintings!on!walls!I!clearly!define! the!blank!areas!before!starting!painting.!This!is!how!I!rendered!the!invisibility!of! radioactivity!in!my!Spatial!Paintings:!through!areas!of!negative!shapes!infiltrating!my! composition.!! ! Fig.!82:!silent,!2017,!PVC!silver!foil!and!egg!tempera!on!wall!and!floor,!370!x!550!x!550!cm,! Wollongong!Art!Gallery,!NSW! I!have!used!negative!shapes!earlier!but!for!different!purposes.!In!my!works!between! 2000!and!2008,!I!left!gaps!between!multiple!canvasses,!which!together!became!one! painting.!The!resulting!construction!of!canvasses!that!had!gaps!2!cm!between!them! formed!grids.!These!paintings!were!often!‘gridded’!with!gaps.!In!my!recent!works!I!use! negative!forms!not!as!grids;!instead,!I!adapt!them!to!the!content!of!my!work.!They!take! on!biomorphic!shapes!and!play!the!same!role!in!the!painting!as!the!contours!that!I!apply! with!paint!or!aluminium.!!The!negative!spaces!are!not!‘place!holders’!for!what!I!don’t! know!–!as!in!the!previous!grid!series!–!they!now!represent!something!invisible,!like! radioactivity.!I!will!speak!about!radioactive!contamination!as!my!subject!matter!in! Chapter!4.! ! 83 ! Fig.!83:!silent,!detail! ! ! ! ! ! Fig.!84:!silent,!detail! ! 84 I!became!aware!of!negative!shapes!through!one!of!the!first!modern!painters!who! adapted!them:!Paul!Cezanne.!In!his!landscape!paintings,!portraits!and!still!lives,!areas!on! the!canvas!are!not!painted.!These!were!sections!that!Cezanne!could!not!fill!in.!No!form! or!colour!was!convincing!enough!to!be!painted,!so!these!areas!stayed!vacant.99.!Cezanne! painted!what!he!could!see!and!experience!of!the!landscape.!His!stylistic!approaches! regarding!how!to!paint!were!analyzed!by!the!French!philosopher!Maurice!MerleauR Ponty,!who!is!primarily!known!for!his!association!with!phenomenology!and! existentialism.!In!his!1945!essay!titled!‘Cézanne's!Doubt’,!MerleauRPonty!discusses!how! Cézanne!gave!up!classic!artistic!elements!such!as!pictorial!arrangements,!single!view! perspectives!and!the!outlines!that!enclosed!colour!in!an!attempt!to!get!a!‘lived! perspective’!–!capturing!all!the!complexities!that!an!eye!observes.!He!wanted!to!sense! the!objects!he!was!painting,!rather!than!think!about!them.!! Ultimately,!he!wanted!to!get!to!the!point!where!sight!was!also!touch.!Often!he!would! take!hours!to!put!down!a!single!stroke!because!each!stroke!needed!to!contain!‘the!air,! the!light,!the!object,!the!composition,!the!character,!the!outline,!and!the!style’.!A!still!life! might!have!taken!Cézanne!one!hundred!working!sessions!while!a!portrait!took!him! around!one!hundred!and!fifty!sessions.!Cézanne!believed!that!while!he!was!painting,!he! was!capturing!a!moment!in!time!that!once!passed,!could!not!come!back.!The!atmosphere! surrounding!what!he!was!painting!was!part!of!the!sensational!reality!he!was!painting.! Cézanne!claimed:!‘Art!is!a!personal!apperception,!which!I!embody!in!sensations!and! which!I!ask!the!understanding!to!organize!into!a!painting.’100!! For!my!own!work,!Cezanne!was!as!important!as!reading!Florenskij’s!theory!about! naturalism!and!central!perspective.!Cezanne!is!one!practical!answer!to!Florensky’s! expectation!of!painting:!to!represent!an!idea,!situation!or!the!pure!moment!as!being! sublime!like!a!vision,!or!as!immediate,!like!Cezanne’s!observations!of!Mont!SainteR Victoire.!The!characteristic!of!Cezanne’s!painting!style!has!aspects!of!importance!for!my! work,!namely,!taking!apart!the!logical!understanding!of!space!and!fragmenting!it,!the! focus!on!the!atmosphere!and!the!use!of!negative!shapes,!rather!than!the!obvious!visual! structure.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 99!HansRDieter!Sonntag,!conversation!with!the!author.!Munich!1993.! 100!Maurice!MerleauRPonty,!‘Cezanne’s!Doubt’,!at! http://www.powersofobservation.com/2011/01/cezannesRdoubt.html!accessed!February!2017.! ! 85 ! Fig.!85:!carousel,!detail! Negative!shapes!serve!as!my!metaphor!for!infiltration.!Radiation’s!invisible! electromagnetic!waves!have!no!tangible!smell!or!substance,!in!spite!of!their!force.!To!get! a!picture!of!this!usually!harmless!but!often!invasive!power!I!imagined!how!it!relates!to! me!as!a!human!being.!It!is!a!neutral!and!silent!energy!with!unpredictable!and!often! devastating!outcomes.!I!found!a!visual!parallel!through!composing!unpainted!areas!into! my!paintings!like!a!body!that!is!randomly!traversed!by!radiation.!I'conclude!here!that! my!infiltrated!and!fragmented!spaces,!dispersed!with!negative!shapes,!effectively!distort! and!disrupt!expected!perspective,!creating!a!new!visual!experience!or!reality.!! ! Fig.!86:!dog,!2015,!egg!tempera!and!oil!on!canvas,!150!x!150!cm! I!resolved!some!of!my!ideas!about!negative!spaces!in!the!Spatial!Painting!carousel! (2014),!whilst!at!a!residency!at!the!ISCP!in!New!York!City.!The!negative!unpainted!area! in!this!Spatial!Painting!spans!the!whole!work!diagonally.!The!basic!form!of!this!painting! shifted!to!the!right!side!as!if!the!space!would!capsize.!The!negative!shapes!pervade!the! painting,!which!captures!my!concept!of!infiltration.!carousel!is!constructed!out!of!four!3R meter!tall!canvases.!Three!are!assembled!together!(with!a!120!degree!corner),!whilst! the!fourth!stands!separately.!The!floor!and!parts!of!the!walls!are!covered!with! aluminium!shapes.!The!floor!is!semi!reflective!and!shows!only!one!dark!axis!of!the! painting!drilling!optically!into!the!ground.!! ! 86 ! Fig.!87:!involution,!2018,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!260!x!400!x!800!cm,! siteFmutative!painting,!Yuill!Crolwey!Gallery,!Sydney! ! ! ! ! ! ! Fig.!88:!involution,!2018,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!260!x!400!x!800!cm,! siteFmutative!painting,!Yuill!Crolwey!Gallery,!Sydney! ! 87 There!have!been!other!artists!who!have!made!me!aware!about!the!concept!of!unpainted! areas!–!the!negative!shapes!in!art.!As!such,!the!following!paragraphs!elaborate!on!how! the!artists!Lucio!Fontana,!Sam!Francis,!Donald!Judd!and!Milovan!Destil!Markovic!have! used!negative!shapes,!and!how!researching!their!work!has!altered!my!own!painting! process.!! ! Fig.!89:!Milovan!Destil!Markovic,!Fragments!of!a!Painting,!1982,!! Student!Culture!Center,!Belgrade,!Yugoslavia! Sam!Francis,!influenced!by!Zen!Buddhism,!realized!large!paintings!with!a!void!of! unpainted!canvas!over!the!whole!surface!up!to!the!edges.!101!With!a!brush,!‘painted! painting’!took!place!only!on!the!edges!of!the!work,!creating!a!painting!that!addressed!the! void:!the!absent!painting.!Seeing!his!painting!in!2016!in!Munich!in!the!Brandhorst! Museum!struck!me!for!its!intense!focus!on!the!emptiness!on!the!canvas.!I!recognized!the! presence!of!these!untouched!areas!on!the!canvas!and!it!became!my!desire!to!achieve!a! similar!impact,!but!not!to!become!the!primary!aim,!as!with!his!formalist!paintings.!In!my! paintings!the!emptiness!should!become!part!of!the!narrative,!but!not!the!whole.!! In!1963!Lucio!Fontana!continued!his!series!of!oval!oil!paintings,!Fine!di!Dio!(The!end!of! God).!The!paintings!are!produced!by!slicing!or!stabbed!holes!into!the!canvas.!The!hole!in! the!canvas!reminds!the!onlooker!that!the!painting!has!real!space!behind!it.!This!is!the! concept!of!concetto!spaciale!(spatial!concept)!and!this!series!made!him!develop!the!oval! shaped!canvasses.102!Fontana’s!association!for!choosing!this!form!might!have!been!a! spiritual!one:!the!egg!shape!Fontana!used!can!be!associated!with!the!origin!of!life.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 101!Sam!Francis!viewed!in!Brondhorst!Museum!in!Munich,!September!2016.! 102!Thomas!M.!Messer,!Lucio!Fontana!Retrosprektive!(Frankfurt:!Schirn!Kunsthalle,!and!Wien:!Museum! moderner!Kunst!Stiftung!Ludwig,!1996),!p.!26!and!pp.!97R103;!see!also:!Germano!Celant,!Lucio!Fontana!!R! Ambienti!Spaziali:!Architecture,!Art,!Environments!(Luzanne:!Skira,!2012)! ! 88 Fontana’s!approach!to!negative!shapes!was!radical:!he!seemingly!destroys!the!painting! by!cutting!into!it.!The!result!was!that!the!painting!acknowledged!space!in!itself!through! its!formal!qualities.!My!work!–!on!the!contrary!–!stays!on!the!surface.!I!decided!not!to! cut!holes!into!my!canvasses!because!I!aim!to!achieve!an!appearance!of!the!absence! through!a!homogenous!surface.! As!discussed!earlier,!Donald!Judd!was!also!concerned!with!notions!of!space.!His!works! addressed!what!can’t!be!seen!–!a!space!or!void!–!and!what!lies!inRbetween!the!elements! we!see.!Through!placing!constellations!as!borders!he!points!out!the!immaterial.!The! edges!carry!colour!and!the!negative!space!becomes!the!active!part!in!the!work!of!art;! simply!air!encircled!by!industrial!materials!in!assigned!locations.!The!untouched!areas! generate!calm!space!because!they!are!shaped!but!not!marked!by!the!artist!and,! therefore,!leave!room!for!contemplation!through!their!emptiness.!I!observed!that! unpainted!fields!show!an!atmosphere!of!authenticity.!Sam!Francis!followed!a!strict! informal!art!concept!and!Judd!aimed!to!encircle!the!fascinating!dimension!of!space!in!his! objects.!! ! Fig.!90:!Franz!Ackermann,!2016,!MexicoRNon!Stop!from!here,!Mounted!paper,!photos,!oil,!acrylics,!mixed! media,!150!x!170!cm! A!contemporary!artist!using!the!idea!of!deconstruction!and!fragmentation!of!space!and! perspective!in!painting!is!Franz!Ackermann.!In!his!Mental!Maps!Series,!which!he!has! been!painting!since!the!1990s,!he!fragments!cityscapes!creating!a!new!picture.!His!work! is!expanded!painting!but!not!only!using!a!formalist!approach:!it!has!narrative!content.! The!perspective!is!pulled!apart!and!in!the!flatness!of!the!resulting!painting!depth!and! space!open!up!in!multiple!angels.!The!cityscape!is!mixed!up!as!if!being!ripped!apart,!or! as!suggested!in!the!title:!!like!in!the!memory!of!a!human!mind.!The!work!is!not!a!mimetic! reproduction!of!the!territory!but,!instead,!a!synthesis!of!the!physical!and!mental!world.! The!vertiginous!agglomerations!of!vibrant!colours!confront!the!viewer!with!a!collapsed! perspective!of!pictorial,!geographical!and!architectural!space.103!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 103!Franz!Ackermann,!Walking!South,!Faena!Art!Center,!Buenos!Aires:!2013,!accessed!February!2018!and! January!2019!http://www.faena.com/faenaRartRcenter/es/exhibitions/franzRackermann/! ! 89 Franz!Ackermann!paints!beyond!the!canvas!and!extends!his!work!onto!the!wall.!He! builds!new!environments!in!exhibition!spaces,!assembled!with!collage!and!mixed!media.! The!titles!of!his!paintings!suggest!the!subject!matter.!For!example,!in!the!painting! Cowardly!Assault!(1999),!one!can!see,!sideRbyRside,!an!abstracted!computer!keyboard! and!the!hole!caused!by!the!impact!of!a!grenade.!Common!sense!suggests!that!the!artist! was!thinking!about!drones!and!how!soldiers!from!‘peaceful’!farRaway!countries!kill! through!digital!technology.!In!his!paintings!he!tries!to!avoid!traces!of!the!human!hand! and!paints!meticulous!hardRedge!forms!in!many!layers.!! Theoreticians!accepted!this!painting!process!in!1990’s!Berlin.104!Painting!was!supposed! to!be!dead!and!the!artist’s!gesture!a!distracting!redundant!force.!To!prove!the!virtuosity! of!the!artist!and!the!conscious!decision!of!this!painting!method,!Ackermann!added!in! each!painting!one!free!gesture!that!was!placed!within!the!composition.105!Looking! closely!at!his!series!of!Helicopter!Paintings!made!me!aware!about!the!possibilities!of!a! homogenous!balance!between!content!and!form!with!painted!fragmented!references!to! the!world.!I!saw!his!work!process!as!an!option!for!me!to!adapt!for!my!own!work.! However,!I!oppose!his!analytical!hardRedge!paintings!style!and!miss!the!intuitive! qualities.!In!my!own!work!I!aim!for!the!intuitive!to!be!the!primary!reference!point,!with! the!content!being!discovered!later.! Also!mentioned!previously!is!Milovan!Destil!Markovic!who!creates!painted!objects,! paintings,!performance,!total!environments!and!painted!installations!with!holes,! reflections!and!negative!shapes.!Destil!Markovic’s!first!series!is!called!New!Space!(from! the!early!1980s),!meaning!a!new!perspective.!These!works!contained!holes.!Canvasses! and!works!on!paper!had!been!cut!with!various!shapes.!For!Destil!Markovic,!this!process! of!working!with!unpainted!fields!allowed!him!to!address!absence!–!a!space!that!cannot! be!defined.!His!research!began!with!reverse!perspective!and!focused!on!the!materiality! of!the!work.!Instead!of!building!up!paint,!he!took!it!away!and!created!voids.106!Shortly! after!he!developed!the!New!Space!series,!he!began!making!the!works!Fragments!of! Painting:!A!Monument!–!a!radical!step!towards!painting!as!a!total!environment.!Looking! for!a!similar!use!of!space!and!using!negative!shapes!led!me!to!make!my!2014!Spatial! Painting!omen.!However,!unlike!Destil!Markovic,!I!don’t!rip!apart!the!paintings!on! canvas!and!paper;!I!paint!directly!on!the!wall,!floor!and!ceiling.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 104!Interview!with!Franz!Ackermann!in!his!studio!in!March!2001,!Berlin.! 105!In!conversation!with!the!artist,!whilst!being!studio!assistant!of!Franz!Ackermann!in!Berlin,!May!2000.! Ackermann!painted!the!gestural!areas!of!his!work!himself!whilst!he!had!assistants!to!paint!the!endurance! work,!the!hardRedged!areas.!The!gestural!areas!had!to!be!unique!and!from!the!artist's!hand.! 106!Interview!with!Destil!Markovic,!12.!November!2016,!Berlin.! ! 90 ! Fig.!91:!Milovan!Destil!Markovic,!Prototype!Sarajavo,!Performance!Mother!Tongue,1989,! YUDOK,!Skenderija,!Sarajevo,!Yugoslavia! I!use!negative!shapes!to!alter,!distort!and!exchange!perspective!in!the!wallRfloorRceiling! paintings.!I!create!negative!shapes!using!two!main!approaches:!one!for!working!on! canvas!and!the!other!for!working!on!walls.!I!cover!areas!of!blank!or!white!primed!canvas! with!paraffin!wax,!or!I!pour!or!throw!paraffin!wax!whilst!enacting!the!painting!process.! Depending!on!the!painting’s!subject,!I!can!make!aggressive!splashes,!or!I!control!the! pour,!aiming!for!specific!compositions.!I!can!write!text!though!pouring!and!I!can! estimate!where!the!negative!shapes!should!be,!though!I!cannot!predict!this!exactly.! When!the!wax!is!solid!I!continue!painting.!When!the!painting!seems!complete!–! sometimes!many!months!later!–!I!take!away!the!brittle!paraffin!layer!and!the!painting! underneath!is!revealed.!I!use!palette!knives!and!a!heat!gun!for!removing!the!wax.!In!this! way,!the!colours!and!forms!of!the!earlier!painted!composition!surface!again.!Like!a! palimpsest,!the!negative!shapes!open!up!the!painting’s!past.!! ! 91 ! Fig.!92:!black!and!white,!2015,!egg!tempera!and!oil!on!canvas,!145!x!145!cm! The!process!of!removal!can!take!some!of!the!priming!away!and!destructive!holes!can! show,!but!I!try!to!avoid!large!cavities.!I!consciously!use!the!physical!reality!of!the! painting!by!breaking!the!aesthetic!homogenous!forms.!This!is!for!me!a!metaphor!for!my! theme:!the!invisible!destructive!infiltration!of!radioactive!contamination.!Focusing!on! this!subject!matter!has!pushed!my!painting!technique!into!new!directions.!Techniques! are!following!my!concepts.!The!theme!of!the!painting!determines!how!I!will!paint!and! construct!the!picture.!! When!using!wax!as!the!first!layer!on!the!white!canvas,!the!negative!shape!can!be!used!as! a!calming!white!and!splashy!space!in!the!painting.!!The!biomorphic!negative!shapes,!if! on!the!white!surface,!or!on!the!first!layers!of!colour,!have!the!quality!of!intertwining!the! painted!areas!with!each!other.!The!colour!of!negative!unpainted!shapes!of!the!wall! paintings!stays!white!–!the!exact!untouched!colour!of!white!on!the!wall.!If!the!floor,!or! ceiling!part!of!the!space!is!brown,!for!example,!I!mix!exactly!this!brown,!so!I!can!extend! the!unpainted!floor!areas!onto!the!wall!and/or!ceiling.!In!the!same!way!I!can!extend!the! white!negative!shapes!of!the!wall!onto!the!floor!though!continuing!the!forms!with!white! paint.!! ! ! ! ! 92 Dissolving'Space'' ! While!reversed!perspective!is!a!crucial!tool!to!cause!confusion!and!distortion!in!my! works,!an!aim!of!my!research!has!been!to!find!a!way!to!create!a!painted!space!that! generates!a!feeling!that!the!space!is!dissolving.!Dissolving!is!an!extreme!infiltration.!I! believe!that!if!a!material!is!fully!infiltrated!by!another!substance!it!will!dissolve.!How! can!I!capture!the!act!of!dissolving!through!painting!upon!walls!and!canvas?!I! investigated!ways!to!establish!compositions!and!painting!techniques!that!demonstrate! my!concept!of!dissolving!and!deterioration.! ! Fig.!93:!Milovan!Destil!Markovic,!Prototype!New!York,!1991,!MOMA!PS1,!New!York!City! In!the!Spatial!Painting!Murphy!meets!other!mutants!(2013,!Fig.!58,!p.61)!I!fragmented!my! materials!–!an!oval!shaped!painting!on!paper,!bits!of!cut!aluminium!and!the!wall,!floor! and!ceiling!painting.!The!painting!on!paper!shows!further!fragmentation!through! overlapping!forms!that!are!reminiscent!of!figural!elements!–!negative!shapes!that!are! like!vacuous!holes!and!collaged!aluminium!parts.!This!work!had!been!a!start!to!compose! fragmentation!though!materials!and!painted!forms.!However,!I!still!did!not!have!the! feeling!that!something!was!slipping!through!my!fingers!–!evaporation,!liquidity!or! something!dissolving.!I!wanted!the!Spatial!Painting!not!only!to!dissolve!an!image!but!to! fragment!the!space!as!well.! Looking!at!the!paintings!of!Impressionist!Claude!Monet!gave!me!some!inspiration!and! context!–!in!particular!the!painting!of!his!pond!with!water!lilies!realised!between!1906! and!his!death!in!1926.!These!paintings!have!a!special!treatment!of!space.!The!depth!of! the!water!in!Monet’s!work!is!purely!described!through!colour!and!lines.!He!aimed!to! paint!the!unifying!atmosphere!that!lay!between!him!and!his!subject.!The!size!of!the! paintings!turn!them!into!an!environment.!‘The!further!I!go,’!he!wrote,!‘the!better!I!see! ! 93 that!it!takes!a!great!deal!of!work!to!succeed!in!rendering!what!I!want!to!render:! 'instantaneity,'!above!all!the!same!light!spread!over!everything,!and!I'm!more!than!ever! disgusted!at!things!that!come!easily,!at!the!first!attempt.’107!Monet’s!work!was!radical! during!its!time!and!left!behind!the!dense!laws!of!naturalistic!representation!and!central! perspective.!! Representing!a!pond!in!Giverny,!these!paintings!begin!to!dissolve!the!knowledge!of! space,!transforming!the!painting!into!an!independent!idea!and!expression.!Central! perspective!dissolves!similarly!in!other!Impressionist!works,!for!example!in!George! Seurat’s!pointillist!paintings.!I!can!here!return!to!Paul!Cezanne’s!late!landscapes!as!well,! in!which!I!can!observe!a!flattening!of!space.!The!landscape!loses!its!depicted!meaning! and!turns!into!a!glimmering,!breathing!space,!existing!in!its!own!right.! Another!approach!to!dissolving!the!depicted!landscape!has!been!exercised!by!avantR garde!artists!in!the!early!twentieth!century.!Throughout!the!1910s,!European!avantR gardes!–!the!Futurists!in!particular!–!had!been!obsessed!with!technological!progress,! speed!and!motion.!The!leader!and!founder!of!Italian!futurist!movement,!Filippo! Tommaso!Marinetti,!published!the!Futurist!Manifest,!in!Le!Figaro!on!20th!February! 1909.108!Fernand!Leger!explained!in!his!text!of!1913!that!the!new!reality!is!created!by! industrialization!and!is!concerned!with!motion.!Thus,!motion!needed!to!be!part!of!the! paintings!in!this!period!of!modernity.!For!Leger,!representation!was!seen!as!necessary,! because!painting!is!a!visual!process,!a!reflection!of!the!external!world,!rather!than! psychological!conditions!of!the!inner!world.109!Perhaps!if!Leger!was!painting!today!he! would!also!be!searching!for!the!‘new’!forms!of!perspective!that!were!part!of!the!current! time.! I!am!interested!in!referring!again!to!Milovan!Destil!Markovic!at!this!stage.!Earlier,!when! speaking!about!negative!shapes,!I!mentioned!the!installation!Fragments!of!Painting:! Monument!(1981).!This!painting!installation!gives!the!clear!impression!of!fragmentation! and!spatial!ambiguity.!The!artist!assembled!throughout!the!entire!gallery!space!various! painting!shapes,!shiny!aluminium!forms!and!a!freely!painted!black!line!showing!empty! shapes.!This!work!reached!over!walls!and!the!ceiling,!spanning!the!entire!space.!In!some! areas,!parts!of!the!painting!seemed!to!cluster!whilst!moving!dynamically!in!the!gallery.! Not!only!are!the!painting’s!fragments!composed!through!the!space!they!also!seem!to! float,!like!being!under!water.!! The!art!historian!Bojana!Pejic!wrote!in!the!accompanying!catalog:!‘We!feel!as!if!we!were! in!a!medieval!monument,!covered!with!frescoes,!being!worn!out!by!time!and!history.’110! Destil!Markovic‘s!work!started!in!the!late!1970s!with!works!in!performance!as!well!as! postRanalytical!painting.!He!examined!possibilities!of!painting!in!relation!to!forms!and! his!own!creative!aims.!In!the!early!1980s!he!arrived!at!this!new!and!radical!approach!to! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 107!National!Gallery!of!Art,!‘Claude!Monet!The!Series!Painting,’!accessed!February!17,!2017,! http://www.nga.gov/content/ngaweb/features/slideshows/claudeRmonet.html! 108!Filippo!Tommaso!Marinetti,!‘The!Founding!and!Manifesto!of!Futurism!1909’,!reprinted!in!Umbro! Apollonio,!ed.,!Futurist!Manifestos!(London:!Thames!and!Hudson,!1973),!pp.!19R24.! 109!Fernand!Leger,!The!Documents!oft!20th!Century!Art,!Functions!of!Painting!(London:!Thames!and!Hudson,! 1973)!pp!11R12.! 110!Bojana!Pejić,'‘Breaking'of'the'painting'and...’!in!Destil!Markovic,!Fragments!of!!Painting:!Monument,! Belgrade:!Galerija!SKC,!Belgrade,!1982.! ! 94 painting!that!was!entering!and!altering!space.!A!timeRbased!aspect!of!his!paintings!can! be!recognized!in!his!process!of!showing!a!series!of!three!exhibitions!with!the!same! works!in!different!stages.!The!idea!climaxed!in!the!last!exhibition!mentioned!above.!This! lent!ambivalence!to!the!meaning!of!a!new!image!on!the!wall!and!a!painting!over!a! painting.111!! Jovan!Despotovic!marked!a!new!understanding!of!art!in!the!former!Yugoslavia:!‘The! space!is!understood!not!only!as!a!place!where!one!works/exhibits,!but!also!as!a!means! and!material!of!work.’112!In!later!works!form!the!1990’s!his!focus!is!on!spatiality,!reverse! perspective!and!combining!narrative!images!of!photos,!paintings!or!text!to!largeRscale! installations.!The!materials!he!used!were!chosen!after!their!indicative!essence:!gold!leaf! represented!light;!tear!and!coal!was!for!him!the!opposite!of!gold,!and!a!basic!substance.! In!stone!coal!only!one!molecule!is!missing!to!make!it!a!crystal.!It!is!very!common!and!so! close!to!the!beauty!of!crystals.!The!mirror!is!used!to!imply!reverse!perspective!in!a!more! complex!way;!aluminum!and!foil!for!the!same!reason,!to!reflect!and!to!instigate! reversing!the!perspective.!113!! ! ! Fig.!94:!Milovan!Destil!Markovic,!Bank!Me!Now!,!2016,!enamel,!pigments!and!MDM!binder!on!canvas,!! 85!x!250!cm! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 111!Jovan!Despotovic,,!‘Destil!Markovic!and!the!“New!Image”!of!the!Eighties,’!in!Milovan!Destil!Markovic,! (Rosenheim:!Kunstverein!and!Cacak:!Galerija!Nadezda!Petrovic,!2008)!p.!48.!! 112!Ibid.!p.!50.! 113!Interview!with!Milovan!Destil!Markovic,!Berlin!November!2016.! ! 95 ! Fig.!95:!Milovan!Destil!Markovic,!Gate!of!Harmony,!1986,! Aperto!‘86,!42nd!Venice!Biennial! The!gaps!in!all!his!works!–!or!one!could!call!them!the!negative!shapes!–!stand!for!realR spaceRelement.!The!concepts!for!each!series!take!a!long!time!to!develop,!sometimes! years!and!a!series!of!paintings!can!change!to!a!multiRdimensional!and!multiRmaterial! entity.114!What!all!these!series!have!in!common!is!a!clear!narrative!concept!and!a! spatiality,!which!is!initiating!a!new!perspective!in!art!that!is!located!between!reflection,! reverse!perspective!and!distortion.!The!influence!that!this!work!has!had!on!my!own! artistic!practice!is!clear:!I!made!my!use!of!aluminium!shapes!consciously!through!artistic! exchange!with!Destil!Markovic!and!conversations!with!art!historian!Johannes!Honeck!in! 2013.!! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 114!Interview!with!Milovan!Destil!Markovic,!Berlin,!November!2016! ! 96 Some'Aspects'of'‘PostKConceptual'Abstraction’' ! Since!the!1980s,!we!have!been!living!in!an!age!of!‘postRconceptual!painting’!–!an!era!that! British!art!historian!Peter!Osborn!calls!‘postRconceptual!abstraction.115!Painting!today! can!use!all!possible!forms,!symbols!or!naturalism!and!is!set!in!a!‘total!freedom’.!Total! freedom!is!created!through!the!overload!of!visual!information!brought!about!by!digital! media,!the!film!industry,!photography!and!other!reproduction!techniques.!! A!contemporary!artist!that!I!investigated!is!the!techno!generation!artist!Michel!Majerus,! who!died!very!young!in!2002!at!the!age!of!35.!His!work!relates!to!the!paintings!of!Franz! Ackermann!and!the!art!of!Destil!Markovic,!because!it!is!based!on!figural!narratives!but! aims!to!create!new!forms!of!painting.!He!influenced!techno!music!and!marked!the! beginning!of!the!digital!age.!Techno!is!a!form!of!music!that!samples!and!reloads!pieces!of! sound;!in!a!similar!manner,!Majerus!fragmented!and!assembled!paintings,!logos!and! images!of!his!surrounding!in!installations!to!make!something!new.!! Guenther!HollerRSchuster!writes!in!his!essay!‘From!here!we!can!go!anywhere.!Michel! Majerus!and!the!extension!of!painting’:!‘The!picture,!monitor!and!window!are!all! extracts!from!different!levels!of!reality.!To!escape!this!dilemma,!you!need!to!declare!the! whole!environment,!the!whole!room!as!the!picture.’116!The!new!view!of!painting!as!a! medium!with!endless!spatial!possibilities!leads!to!the!rethinking!of!perspectives.117!The! location!becomes!an!active!part!of!the!work.!In!irrational!and!incomprehensible!ways! Majerus!combines!text,!comic!characters,!wooden!structure,!wall!paintings!and! paintings!on!canvas.!Looking!at!his!work,!the!subject!is!readily!perceived!from!slogans,! the!motifs!or!the!gestures.!He!‘mixes’!historic!styles!with!specific!phrases!and!methods.! HollerRSchuster!continues:!! Painting,!one!of!the!oldest!of!the!truly!classic!media,!seemed!to!him!the!ideal! !instrument!for!his!work.!For!him!despite!many!apocalyptic!statements!to!the! contrary,!painting!was!by!no!means!dead,!nor!did!he!wish!it!any!harm.!In!fact,!he! saw!it!as!a!heterogeneous!terrain!that!allowed!activities!far!beyond!canvas!or! white!walls.118!! Majerus!seems!to!have!set!out!to!prove!that!painting!could!not!have!come!to!an!end.! More!than!almost!any!other!artist,!he!kept!a!finger!on!the!pulse!of!his!time!–!particularly! the!late!1980s!and!the!following!decade.119!Majreus!is!one!of!the!few!artists!who!breaks! the!borders!of!painting!into!a!new!physical!‘freestyle’.! Majerus!seems!to!have!assembled!with!lightness!and!humour!essential!marks!of!our! time,!which!he!chose,!maybe!intuitively!or!consciously!out!of!uncountable!forms! surrounding!us.!The!resulting!works!can!take!any!form:!a!traditional!canvas!painting,!or! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 115!Peter!Osborn,!“Modernism,!Abstraction,!and!the!Return!to!Painting,”!in!Thinking!Art:!Beyond!Traditional! Aesthetics,!eds.!Andrew!Benjamin!and!Peter!Osborn!(London:!ICA,!1991),!pp.!59R79.! 116!Guenther!HollerRSchuster,!Michel!Majerus,!Installations!1992F2002,!eds.!Peter!Pakesch,!Gijs!van!Tuyl,! Robert!Fleck,!Veit!Goerner,!MarieRClaude!Beaud,!(Cologne:!Verlag!der!Buchhandlung!König, 2005),!p.!167.!! 117!Ibid.! 118!!Michel!Majerus,!in!Installations!1992F2002,!Eds.!Peter!Pakesch,!Gijs!van!Tuyl,!Robert!Fleck,!Veit!Goerner,! MarieRClaude!Beaud!(Cologne:!Verlag!der!Buchhandlung!Koenig!2005),!p.166.!! 119!Ibid.,!page!167.!! ! 97 they!can!extend!over!whole!spaces!and!buildings,!whilst!never!losing!their!core!sense.! This!leads!to!the!general!question!of!what!is!more!real:!what!we!see,!or!the!knowledge! of!its!construction?!Since!the!digital!age,!a!shift!has!occurred!in!perception.!Our!time!will! be!defined!by!the!ephemerality!of!the!digital!experience.!!! ! Fig.!96:!Michel!Majerus,!Leuchtland,!2002,!Friedrich!Petzel!Gallery,!New!York!City! ! Hyperspace'and'Today’s'Digitalized'Perspective' ! Reality!spans!into!the!fourth!dimension!because!at!one!moment!we!can!be!in!many! places!at!the!same!time!–!through!being!connected!digitally.!Conversely!time!and!space! have!become!relative!in!the!‘flat’!digital!sphere.!The!physical!experiencing!of!space,! distance!and!touch!is!withdrawn!and!happens!increasingly!in!the!mind!and!on!the! screen.!What!is!recorded!digitally!can!vanish!in!a!fraction!of!a!second!and!memory!is! dissolved!in!an!overload!of!simultaneous!information.!Parallel!to!this!‘multi!dimensional! screen!reality’!is!nature:!plants,!animals,!humans,!growth,!decay,!light!and!darkness,! moisture,!soil,!and!how!we!as!humans!relate!to!our!environment!–!politics,!psychological! and!philosophical!understanding,!and!technological!infinity.!This!complex,!multiRlayered! nature!drives!my!use!of!perspective!in!painting.!I!am!demonstrating!in!two!and!threeR dimensional!works!my!understanding!of!our!time!through!transforming!perception.!! Philosopher!Jean!Baudrillard!describes!in!his!book!The!Illusion!of!the!End!how!humans! have!lost!all!references!because!of!the!accelerated!speed!of!life.!Baudrillard’s!ideas! underpin!my!own!concepts.!He!states!that!historical,!political!and!cultural!facts!possess! a!kinetic!element,!which!is!thrown!from!its!own!space!into!a!‘hyperspace’.!Meaning!is! ! 98 lost!in!his!opinion!because!if!once!sucked!into!the!electronic!media!it!will!never!return! to!its!original!form.!The!world!now!exists!out!of!simulation.!Dissemination!and! circulation!is!leading!to!facts!becoming!atomic,!nuclear,!and!pursues!a!trajectory!into!the! void:!‘In!order!to!be!disseminated!to!infinity,!it!has!to!be!fragmented!like!a!particle.’120! The!human!memory!is!replaced!by!the!luminous,!electronic!memory!of!computers.! Baudrillard!wonders!if!human!history!is!evoluting!or!involuting.!This!apocalyptic!view! addresses!the!shift!that!had!happened!in!the!last!40!years!and!the!rise!of!the!digital! perspective.!After!the!fragmentation!of!Postmodernity,!we!are!now!in!a!period!of! Hypermodernity.!I!see!it!as!a!deterioration!and!dissolving!of!continuous!thought,!and!an! infiltration!of!knowledge!through!the!growing!relativity!of!information!streams.!! Baudrillard!proposes!that!in!the!1980s!history!started!reversing.!!We!are!faced!now! with!a!paradoxical!process!of!reversal,!not!even!the!end!of!history:!a!reversive!effect!of! modernity,!which,!having!reached!its!virtual!development!is!disintegrating,!into!its! simple!elements!in!a!catastrophic!process!of!recurrence!and!turbulence.121!Baudrillard! names!complex!reasons!for!the!reversal!of!history.!After!a!long!linear!progress!of! evolution,!the!speed!and!multifaceted!electronic!world!is!pushing!humanity!slowly! backwards!again.!Humans!invented!their!future!own!obsolescence.!Baurillard’s!theory! has!been!essential!for!my!research.!If!I!find!an!image!for!Baudrillard’s!words,!I!see!it!as!a! deteriorated!space!with!reverse!perspective,!close!to!destruction.! Another!important!writer!feeding!my!art!practice!is!Paul!Virilio!who!coined!the!term! ‘toposcopical!disaster’!for!what!modernity,!a!catastrophic!epoch!in!his!eyes,!has!led!to.! Today’s!perspective!would!be!teletopology:!the!views!into!a!building!under! telesurveillance.!The!monitoring!of!others,!a!conglomerate!of!individual!cells!observed! from!a!video!control!unit.!Whilst!Jean!Baudrillard!gives!a!great!value!to!appearance! because!of!the!ephemeral!nature!of!the!digital,!Virilio!speaks!about!transRappearance,! the!appearance!in!flux.122!Virilio!describes!how!Gothic!stained!glass!windows!in! cathedrals,!which!for!him!capture!the!idea!of!the!painting!as!a!window,!seemed!‘less!an! opening!on!the!sky!than!an!opening!on!the!light!of!the!beyond!up!above’.!TransR appearance!is!here!produced!by!electromagnetism!and!teleobjective!illuminism!and! ‘does!no!longer!open!on!anything!but!the!here!below’.123!For!Virilio,!typically!European! paintings!are!landscapes!seen!from!a!window!of!a!train,!dominated!by!central! perspective!and!the!outlook!is!on!the!horizon!line.!! An!artist!who!invented!a!new!fragmented!perspective!for!Virilio!was!Jackson!Pollock.! Pollock’s!paintings!were!made!whilst!lying!horizontal!on!the!floor!and!therefore!show!a! birdsReye!view,!looking!from!above,!observing!the!surface.!The!view!is!of!aerial!zenith! creating!an!abstract!world!of!aeroscopy.124!Pollock!radicalized!abstract!art!in!American,! breaking!with!European!traditions.!He!envisioned!a!perspective!applicable!to!the! endless!vastness!of!the!land:!‘The!SurRvisualism!of!abstraction!took!over!–!in!the!United! States,!at!least!–!from!the!SurRrealism!of!the!old!continent,!as!a!prelude!to!the! incontinent!Televisualism!of!a!world!buckled!in!on!itself,!in!this!realRtime!perspective!of! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 120!Jean!Baudrillard,!The!Illusion!oft!the!End,!(Cambridge:!Polity!Press,!1994),!p.!2.! 121!Ibid.,!p.!11.! 122!Paul!Virilio,!Art!as!Far!as!the!Eye!Can!See,!(Oxford!and!New!York:!Berg,!2007),!pp.!21R25.! 123!Ibid.,!pp.!24R25.! 124!Paul!Virilio,!Art!as!Far!as!the!Eye!Can!See,!op.cit.,!p.!36.! ! 99 ubiquity!that!gives!the!realRspace!perspective!of!the!Quattrocentro!its!stereoscopic! relief’.125!Virilio!describes!an!evolution!of!perspective!in!art!predicting!a!psychotic!future! for!humans!in!today’s!telepology.!! Florensky,!Panofsky!and!Baudrillard!mirror!a!particular!perspective!arising!out!of!the! psychology!of!a!specific!time.!Virilio!quotes!Apollinaire’s!prophecy!and!writes,!‘I,!the! horizon,!will!fight!for!victory!for!I!am!the!invisible!that!cannot!disappear.!I!am!the!ocean! wave.!Open!the!sluice!gates!so!I!can!rush!in!and!overrun!everything!126!For!those!of!us! who!live!in!the!twentyRfirst!century,!Apollinaire’s!prophecy!came!to!pass!a!long!time!ago.! Since!the!wave!of!electromagnetic!fields!flooded!the!earth!with!audioRvisuality,!not!only! has!the!skyline!been!locked!down!in!the!rectangle!of!the!screen!–!of!all!the!screens!–!but! the!spectator!has!now!morphed!into!a!teleRviewer!who!stretches!out!or,!rather,!lies! down!in!front!of!it.’127!Virilio’s!perspective!of!our!time!matches!my!sensual!experience! when!I!work!with!particular!contemporary!subject!matters!in!painting,!like! environmental!contaminations.!! ! Fig.!97:!countdown,!2016,!egg!tempera!and!oil!on!canvas,!46!x!58!cm! To!conclude,!I!realize!that!the!intuitiveRabstract!experience!of!the!space!where!my! painting!is!situated!is!a!method!of!communicating!my!desired!content,!like!Virilio!and! Baudrillard!are!writing!and!coining!terms!that!match!today’s!atmosphere.!I!use! transformable!threeRdimensionality!as!another!medium!in!Spacial!Painting!in!order!to! represent!the!atmosphere!and!characteristics!of!radiation,!distortion,!deterioration,! infiltration!and!dissolving.!!Each!of!my!works!begins!with!facts!that!I!“need!to!billboard”! and!communicate.!Without!these!themes,!I!would!not!begin!to!paint.!The!idea!needs!the! material,!just!as!the!material!needs!the!idea:!both!feed!and!guide!each!other.!For!me,! painting!is!visual!communication!that!has!the!ability!of!immediate!sensual!impact.! Mutative!perspective!is!my!answer!to!invisible!conditions!of!our!time!that!involve! radioactive!and!environmental!contamination!and!vanishing!matter!in!the!digital!age.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 125!Paul!Virilio,!Art!as!Far!as!the!Eye!Can!See,!op.cit.,!p.!37.! 126!Guillaume!Apollinaire,!Tendre!comme!le!souvenir!(Paris:!Gallimard,!2005).!! 127!Paul!Virilio,!Art!as!Far!as!the!Eye!Can!See,!op.cit.,!p.!36.! ! ! ! ! 100 ! Fig.!98:!akimbo,!2015,!egg!tempera!and!oil!on!canvas,!150!x!150!cm! ! ! ! ! ! ! ! ! ! ! ! 101 CHAPTER'FOUR:'RADIATIONSCAPES' ! What!we!have!done!and!are!doing!to!our!environment,!what!the!environment!in! turn!does!to!us,!how!we!naturalize!what!we!do!to!each!other,!and!how!these! ‘doings’!are!enacted!in!the!media!of!representation!we!call!‘landscape’!…! W.!J.!T.!Mitchell,!128!! ! ! Fig.!99!and!100:!another!gift!and!in!God's!name,!2016,!egg!tempera!and!oil!on!canvas,!each!300!x!120!cm! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 128!W.J.T.!Mitchell,!“Introduction,”!in!Landscape!and!Power,!ed.!W.J.T.!Mitchell!(Chicago!and!London:!The! University!of!Chicago!Press,!1994),!p.!2.! ! 102 !!!!!! ! Fig.!101!and!102:!9!out!of!10!and!seventy!years,!2016,!egg!tempera!and!oil!on!canvas,!each!300!x!120!cm! The!title!of!this!final!chapter,!Radiationscapes,!draws!on!the!title!of!my!exhibition!held!in! 2014.!129!I!define!how!I!approach!the!natural!environment!in!my!painting!practice!and! how!I!deal!with!my!prime!subject!matter:!invisible!contaminations.!I!am!trying!to! identify!the!questions,!which!have!been!mentioned!by!W.J.T.!Mitchell!in!the!quote!above.! In!my!case,!this!is!a!question!about!nuclear!contamination!caused!by!the!usage!of! depleted!uranium.!I!present!here!a!short!overview!of!some!Modernist!artists!who!have! followed!the!‘naturalist!impulse’!as!it!has!been!described!in!their!landscape!paintings! produced!in!the!past!century.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 129!The!title!of!the!chapter!is!derived!from!the!title!of!my!exhibition!radiation!scapes!held!in!2014!at!Krohne! Art!Collection!in!Duisburg.! ! 103 Robert!Rosenblum!states!that!abstract!art!was!born!out!of!landscape!and!his!examples! include!Jackson!Pollock!and!Mark!Rothko.!130!The!works!in!this!chapter!are!grouped! under!the!title!Radiationscapes.!!I!look!back!to!the!works!produced!in!the!1950s,!when! both!European!and!American!artists!explicitly!or!obliquely!had!been!thematising!and! visualising!the!effects!of!the!Atomic!Age,!pointing!to!dangers!of!nuclear!radiation.!These! works!relate!to!my!own!current!explorations!of!similar!subjects.!At!the!end!of!this! chapter,!I!write!about!the!role!of!the!emotional!or!rather!‘affective!tone’!in!my!painting.!! Throughout!the!twentieth!century,!Modern!art,!as!David!Bachelor!suggests,!‘has! exploited!the!device!of!abstracting!from!a!naturalistic!source!(through!editing,! schematization,!reduction,!distortion,!substitution,!etc.)!to!the!point!where!that!source!is! largely!unrecognizable,!and!unrecoverable!without!the!aid!of!some!clues!or!a!key.’131!As! is!known,!for!many!artists!working!at!the!beginning!of!the!twentieth!century,! representing!natural!scenery!was!the!very!first!step!towards!abstraction.132!! When!I!have!started!working!on!my!Spatial!Paintings!in!which!I!used!biomorphic!forms!I! was!not!fully!aware!that!I!was!dealing!with!landscape,!until!the!art!historian!Bojana! Pejić,!based!in!Berlin,!remarked!about!my!exhibition!radiation!scape!(2014):!! In!Spatial!Painting,!Claudia!Chaseling!is!motivated!by!her!sincere!desire!to!paint;! in!placing!the!paint!on!the!canvas!or!the!wall,!she!appears!to!be!well!aware!of! historical!extensions!occurring!in!the!pictorial!field,!such!as!the!collage.!She!is! also!conscious!of!postRDuchampian!strategies!and!the!legacy!of!conceptual!art.! At!the!same!time,!she!counters!the!habitual!(and!late!modernist)!misconception! about!abstract!painting,!generally!considered!to!be!socially!irrelevant!or!“mute.”! Both!her!pictures!and!pieces!set!in!the!architectonical!frame!unfold!a!variety!of! nonRiconic!shapes!pointing!towards!the!precarious!condition!of!nature!or! referring!to!organic!phenomena!(such!as!faunal!and!vegetal!kingdoms),!which! she!frequently!evokes!in!the!titles!of!her!works.!!Due!to!this!relationship!to!the! natural,!most,!if!not!all,!of!her!abstract!paintings!could!be!read!as!landscapes.!133! In!the!Western!tradition,!painters,!poets!and!indeed!landscapers!have!been!‘reRcreating’! landscape!for!many!centuries.134!American!theorist!W.J.T.!Mitchell,!whose!reflections!on! landscape!I!used!as!motto!for!this!chapter,!proposed!to!change!the!term!‘landscape’!from! a!noun!to!a!verb:!to!landscape.!!In!his!‘Theses!on!Landscape,’!he!announces:!! 1.!Landscape!is!not!a!genre!of!art!but!a!medium;!2.!Landscape!is!a!medium!of! exchange!between!the!human!and!the!natural,!the!self!and!the!other.![…]!4.! Landscape!is!a!natural!scene!mediated!by!culture.!It!is!both!a!represented!and! presented!space,!both!signifier!and!the!signified,!both!a!frame!and!what!frame! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 130!Robert!Rosenblum,!Modern!Painting!and!the!Northern!Romantic!Tradition!–!From!Friedrich!to!Rothko! (London:!Thames!and!Hudson,!1973),!pp.195R218! 131!David!Batchelor,!“Abstraction,!Modernism,!Representation,”!in!Thinking!Art:!Beyond!Traditional! Aesthetics,!Thinking!Art:!Beyond!Traditional!Aesthetics,!eds.!Andrew!Benjamin!and!Peter!Osborne!(London:! Institute!of!Contemporary!Art,!1991),!p.!72.!! 132!See!Robert!Rosenblum,!Modern!Painting!and!the!Northern!Romantic!Tradition!–!From!Friedrich!to!Rothko! (London:!Thames!and!Hudson,!1973)! 133!Bojana!Pejić,!“The!Day!Before!Tomorrow,”!in!Claudia!Chaseling!–!Spatial!Painting,!ed.!Benedikt! Stegmayer!(Berlin:!Verlag!für!zeitgenössische!Kunst,!2016),!p.!9.!! 134!See!James!A.!W.!Heffernan,!The!ReFcreation!of!Landscape!(Hanover!and!London:!University!Press!of!New! England,!1984)! ! 104 contains,!both!a!real!place!and!its!simulation![…].!5.!Landscape!is!a!medium! found!in!all!cultures.135!!! This!last!remark!seems!vital!since!I!have!personally!experienced!how!the!visual! rendering!of!natural!surroundings,!which!the!Australian!Aboriginal!community!had! been!producing!(about!which!I!have!written!in!Chapter!1)!differs!from!the!‘landscaping’! we!encounter!by!Western!artists.!In!order!to!make!my!Spatial!Painting!I!always!start! with!nature!as!a!‘real!place’:!I!start!with!observation.! ! Fig.!103:!Radiationscape,!2018,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!360!x!1000!x!250! cm!Art!in!Buildings!55!5th!Avenue!space!(Union!Square),!New!York!City! ! ! Fig.!104:!Radiationscape!draft,!2018,!watercolour!and!pencils!on!paper,!42!x!59!cm! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 135!W.J.T.!Mitchell,!“Imperial!Landscape,”!in!Landscape!and!Power,!op.!cit.,!p.5.! ! 105 ! Fig.!105:!Radiationscape,!2018,!left!side!view! ! Fig.!106:!Radiationscape,!2018,!right!side!view! ! ! 106 Naturalist'Impulse'and'Looking'at'Rainbows' ! I!strongly!believe!that!the!observation!of!natural!occurrences!helps!us!understand!a! work!of!art!–!namely,!the!painting.!For!me,!the!rainbow!presents!a!dialogue!between!the! two!and!threeRdimensional.!Throughout!history,!artists,!philosophers!and!scientists! have!tried!to!describe!the!shimmering,!luminous!qualities!of!this!phenomenon.!Virgil! referred!to!a!thousand!colours!of!the!rainbow.136!Matthias!Gruenewald’s!bow!in!the! painting!Stuppach!Madonna!(1514–19)!returned!to!a!twoRcolour!version.137!Later!in!the! eighteenth!century,!Sir!Joshua!Reynolds!stated!that!accidents!of!light!should!not!be! endorsed!in!landscape!painting.!William!Blake!commented!in!1809!that!he!was!on!the! side!of!accidents!of!light.138!Painters!and!poets!divided!into!Newtonian!and!antiR Newtonian!after!Isaac!Newton!discovered!his!theory!of!colour!in!the!1660s.!In!the!1920s,! Paul!Klee!taught!his!students!at!the!Bauhaus!that!the!rainbow!had!ceased!to!have!any! compelling!symbolic!or!theoretical!power.139!These!positions!testify,!in!my!opinion,!to! the!strong!belief!in!the!(scientific)!analysis!of!natural!phenomena!and!a!theoretical! perception!of!space!generally.! The!rainbow!is!an!image!not!an!object!and!cannot!display!any!central!perspective,!no! matter!where!the!viewer!stands.!The!rainbow!seen!in!the!landscape!appears!like!a! vertical,!flat!picture.!Therefore,!the!rules!of!linear!perspective!that!are!applicable!to! objects!do!not!apply!to!the!rainbow,!a!distinction!that!many!artists!have!either! overlooked!or!simply!rejected.140!A!rainbow!is!always!unique.!When!the!observer!moves! the!rainbow!moves!as!well.!When!the!observer!tries!to!come!closer!to!the!rainbow!it! backs!off,!if!you!move!away!it!follows!and!if!you!move!sideways!the!rainbow!moves! sideways!too.!John!Constable!researched!and!painted!rainbows!intensely!and!developed! a!precise!knowledge!of!the!physical!laws!and!visual!appearances!that!a!rainbow!can! have.!The!rich!variety!in!form!and!colour!of!rainbows!is!not!fully!understood,!even! today.141!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 136!Raymond!L.!Lee,!Alistair!B.!Frazer,!The!Rainbow!Bridge,!Rainbows!in!Art,!Myth!and!Science!(Pennsylvania:! State!University!Press,!2001)!pp.!50R51.! 137!Ibid.,!p.!!94.!his!own!observations!had!clashed!with!Aristotle’s!rainbow!theory!so!he!retreated!to!the! traditional!6th!century!version!of!St!Gregory!the!Great’s!painting!the!Vienna!Genesis! 138!Ibid.,!p.!106.! 139!Ibid.,!p.!115.! 140!Raymond!L.!Lee,!Alistair!B.!Frazer,!The!Rainbow!Bridge,!Rainbows!in!Art,!Myth!and!Science!(Pennsylvania:! State!University!Press,!2001)!pp.!50R51.! 141!John!E.!Thornes,!John!Constable’s!Skies:!A!fusion!of!Art!and!Science!(Birmingham:!University!of! Birmingham!Press,!1999)!p.!48.! ! 107 ! Fig.!107:!Coding!the!Earth!F!The!Darker!the!Night!the!Brighter!the!Stars,!2018,! collaboration!with!Milovan!Destil!Markovic,! polycarbonate,!pigments,!MDM!binder,!leaf!aluminium,!concrete,!wood!and!solar!lights,! 300!cm!x!500!cm!x!300!cm,!Lorne!Biennale,!Victoria Constable!painted!the!rainbow!as!he!wished,!from!a!particular!view,!or!with!the!sun! directly!above!the!earth.!The!painting!Salisbury!Cathedral!from!the!Meadows!(1831)! shows!a!perspective!onto!the!rainbow!that!could!have!not!been!seen!in!reality.142!In!an! article!from!2000,!Chris!Mobray!criticizes!Constable!for!not!being!professional!and! analytical!enough!with!the!clouds!and!skies!he!painted.143!This!statement!demonstrates! to!me!how!the!analytical!approach!was,!and!even!today!is!favoured!over!“reality”!in!a! work!of!art,!and!how!strong!the!belief!in!the!narrow!system!of!central!perspective!is.! The!whole!landscape,!in!my!opinion,!could!also!be!seen!with!the!parameters!of!the! rainbow.! Here!I!come!back!to!Jean!Baudrillard’s!statement!that!appearance!is!the!reality.!If!we! understand!appearance!as!reality,!central!perspective!becomes!outRdated.!And!this!is! how!I!understand!my!Spatial!Paintings.!The!Spatial!Painting!I!realize!in!space!can!be! compared!with!the!rainbow.!The!Spatial!Painting!is!layered!flat!above!the!threeR dimensional!space,!like!the!rainbow!sits!optically!flat!in!the!landscape.!To!see!a!rainbow,! I!do!not!need!an!understanding!of!central!perspective!and!an!analysis!of!the!dimensions! of!the!landscape!in!which!it!sits.!I!apply!Mutative!Perspective!to!all!my!paintings.!It!is!a! methodology!to!change!perspective!and!to!reform!it!in!a!particular!way.!!In!this!process,! the!space!becomes!my!tool!with!which!to!work:!I!distort!its!geometry!and!logic!and! make!it!follow!my!subject!matter,!without!tearing!down!the!walls.!As!discussed,!colour! can!affect!perception!whilst!transmitting!meaning!in!an!unmistakable!way.!The!subject! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 142!Ibid.,!p.83! 143!Chris!Mowbray,!‘Constable:!Nice!skies,!shame!about!the!rainbows,’'The!Independent,!accessed!9.! February,!2017,http://www.independent.co.uk/news/constableRniceRskiesRshameRaboutRtheRrainbowsR 1118809.html' ! 108 matter!I!deal!with!in!the!works!I!call!Radiationscapes!(which!are!both!twoR!and!threeR dimensional!paintings)!are!not!representing!the!views!of!landscape!and!natural! occurrences,!but!are!representative!of!radioactive!contaminated!landscapes.!! ! ! Fig.!108!and!109:!yesterday!is!tomorrow,!2018,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!! 500!x!250!x!200!cm,!Station!Paradox,!Momentum!Berlin! ! Biomorphic'Abstraction'and'the'‘Atomic'Sublime’'' ! The!forms!and!structures!I!use!in!my!painting!language!are!influenced!by!nature.!One!of! the!artists!I!can!relate!to!regarding!my!biomorphic!abstraction!and!especially!the!antiR linear!perspective!I!apply,!is!one!of!the!first!pure!abstract!American!painters:!Georgia! O’Keeffe.!She!said:!‘I!had!to!create!an!equivalent!for!what!I!felt!about!what!I!was!looking! at!R!not!copy!it.’144!After!her!education!in!painting!realism,!she!shifted!her!style! drastically!through!the!influence!of!the!painter!Arthur!Wesley!Dow.!Still!originating!in! nature,!landscapes!or!cityscapes,!her!paintings!took!on!a!life!of!their!own:!colour!and! form!became!the!focus!of!her!works,!leading!to!highly!sensual!paintings.!Focusing!on! O’Keeffe’s!abstraction,!we!notice!that!the!space!on!the!canvas!is!flattened!and!depth!is! ignited!as!a!result!of!colour!and!composition.!O’Keeffe!rejects!linear!perspective.!My! paintings!could!be!recognized!as!belonging!to!‘biomorphic!abstraction,’!they!avoid!linear! perspective!and!oppose!the!gridding!of!space.!Space!is!created!inside!the!canvas,!out!of! colour.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 144!Brainy!Quote,!Georgia!O’Keeffe!Quotes,!accessed!3.!February!2018,! https://www.brainyquote.com/authors/georgia_okeeffe!! ! 109 How!did!I!get!to!find!my!forms!and!how!do!I!choose!priorities!in!abstract!painting! language?!From!the!beginning!nature!has!fascinated!me!for!its!imprints!of!time!and! movement!left!in!rocks,!or!which!can!be!observed!in!clouds,!sand!and!water.!The!flaring! of!air!in!the!heat!and!the!transparent!space,!between!me!and!a!mountain!on!the!horizon,! for!example,!have!been!my!main!concern.!This!led!me!to!drawing!and!painting!lines!in! nature!and!later!became!the!underlying!vocabulary!of!my!painted!work.!! My!understanding!of!space!had!been!formed!by!years!of!observing!natural!forms!and! trying!to!understand!them!through!drawing!and!painting.!My!current!work!relies!on!my! knowledge!of!underlying!structures!in!nature.!These!underlying!terms!can!be!also! described!as!fractal!geometry.145!Johannes!Honeck!has!written!about!my!work,!stating! that!I!paint!a!whirlwind!of!strange!visions!and!the!artist!‘…points!to!the!contradiction!of! cosmos!and!chaos.!As!is!the!theogony!of!the!Greek!poet!Hesiod,!here!painting!forms!new! compositions!out!of!disorder.!Thus!an!amorphous,!cosmic!system!arises!out!of!complex! fragments:!painted!structures!that!are!reminiscent!of!patterns!formed!by!light!reflexes! and!waves!on!watery!surface!and!sculptures!in!the!forms!of!fabulous!creatures.’146! During!the!research!for!my!thesis,!I!investigated!the!history!of!biomorphic!abstraction! and!its!later!development!in!the!Modernist!visual!arts!of!the!1950s.!!The!earliest!use!of! the!term!biomorphic!abstraction!was!by!Alfred!H.!Barr!in!1936.147!He!defined!it!as! curvilinear!rather!than!rectilinear,!decorative!rather!then!structural!and!romantic! rather!than!classical!in!its!exaltation!of!mystical,!the!spontaneous!and!the!irrational.! Barr!analyzed!that!biomorphic!shapes!are:!‘uncannily!familiar;!people!recognize!them….! Though!they!might!have!never!seen!them!before.’148!Barr!names!the!biomorphic!world! ‘mystical,!the!spontaneous!and!the!irrational’.149!! An!example!for!first!biomorphic!art!is!the!abstract!paintings!of!Wassily!Kandinsky.! Kandinsky!was!interested!in!the!spiritual!and!musical!aspects!of!abstract!art.!He! combined!biomorphic!forms!with!geometric!lines!and!shapes!in!his!earliest!abstract! paintings.!In!Kandinsky’s!landscapes,!made!in!the!early!stage!of!the!Machine!Age,! landscape!is!reRcreated!as!reliant!not!on!human!but!on!mysterious!powers;!in!Georgia! O’Keeffe’s!vistas!of!‘primeval’!nature,!the!natural!is!represented!as!if!untouched!by! human!agency,!‘unspoiled’!by!urbanization.!!! After!the!Second!World!War,!in!the!1950s,!artists!had!been!confronted!with!the!fears!of! the!Atomic!Age.!It!was!to!be!felt!in!the!abstract!‘explosions’!of!Jackson!Pollock,!who!at! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 145!Oxford!Dictionary,!Fractal!Geometry,!A!curve!or!geometrical!figure,!each!part!of!which!has!the!same! statistical!character!as!the!whole.!They!are!useful!in!modelling!structures!(such!as!snowflakes)!in!which! similar!patterns!recur!at!progressively!smaller!scales,!and!in!describing!partly!random!or!chaotic! phenomena!such!as!crystal!growth!and!galaxy!formation,!accessed!February!4,!2018.!The!mathematical! discovery!by!Benoit!Mandelbrot,!Fractal!Geometry!of!Nature!of!1982,!deals!with!the!seemingly!chaotic! natural!sequences,!which!are!surprisingly!organized!after!repeating!cosmic!rules! 146!Johannes!Honeck,!Claudia!Chaseling!–!Spatial!Painting!(Berlin:!ed.!Benedikt!Stegmayer,!Verlag!für! zeitgenössische!Kunst!und!Theorie,!2016)!p.!146.! 147!See!Alfred!H.!Barr,!Cubism!and!Abstract!Art,!1936,!accessed!February!4,!2018,! https://www.moma.org/calendar/exhibitions/2748.!Barr!described!it!in!the!catalogue!of!the!exhibition! Cubism!and!Abstract!Art!held!at!MOMA! 148!Phillip!Baric,!The!Role!Of!Biomorphic!Shapes!In!Abstract!Art,!accessed!February!4,!2018,! http://www.ideelart.com/module/csblog/post/290R1Rbiomorphism.html!!! 149!ibid.! ! 110 the!time!stated!something!that!I!find!relevant!for!my!practice!and!the!model!on!which!I! base!my!work.!He!said:! ! My!opinion!is!that!new!needs!new!techniques.!And!the!modern!artists!have! found!new!ways!and!new!means!of!making!their!statements.!It!seems!to!me!that! the!modern!painter!cannot!express!this!age,!the!airplane,!the!atom!bomb,!the! radio,!in!the!old!forms!of!the!Renaissance!or!of!any!other!past!culture.!Each!age! finds!it’s!own!technique.!150!! In!1950s!America,!Barnet!Newman!relayed!his!philosophy!on!the!‘ethics!of!the!Earth.’!In! Europe,!abstract!paintings!had!been!mapping!‘terrains!of!anxiety’.!showing!mushroom! clouds!–!take,!for!example,!the!paintings!by!Wols!and!Jean!Dubuffet.!In!addition,!Italian! artist!Enrico!Baj!imaged!‘nuclear!cities’.!The!views!of!unpopulated!deserts!(nuclear!test! sites)!surfacing!in!the!photographs!of!that!time,!were!all!responses!to!the!scares!induced! by!the!‘Bomb.’151!Moreover,!in!popular!culture,!the!celluloid!fantasies!evoked!in!the! scienceRfiction!movies!of!the!1950s!—!the!golden!age!of!the!genre!—!featuring! incinerated!lands!and!monstrous!mutants!unleashed!by!radioactive!fallout,!presented! indirect!expression!of!anxiety!(even!paranoia)!about!the!prospects!of!total!nuclear!war.! If!I!situated!the!Radiationscapes!in!a!tradition!of!Western!Modernist!art,!this!would!be! the!1950s!when!fear!of!atomic!catastrophe!had!been!expressed!by!scientists!and!visual! artists.!! I!offer!several!examples!of!picturing!radioactivity.!Historically!the!first!images!of!atomic! explosions!were!highly!censored!before!they!had!been!published,!and!showed!diffuse! grainy!images!of!this!new!sensation.!In!his!valuable!essay!‘The!Atomic!Sublime,’!Peter!B.! Hales!describes!the!condition!of!the!1950s.!The!focus!of!these!images!had!been!on!the! visual!and!not!the!ethical.!Newsweek,!for!example,!described!the!image!of!the!atomic! bomb!that!hit!Nagasaki!in!1954!in!the!following!terms:!‘the!atoms!of!Nagasaki!rise! 50,000!feet!high’.!For!the!Alamogordo!test,!done!one!week!later,!was!deemed!that!‘its! light!equalled!that!of!many!suns;!its!smoke!plume!rose!nearly!eight!miles.’!Life!devoted! much!of!its!20th!August,!1945!issue!to!the!atomic!explosions!at!Hiroshima!and! Nagasaki:!’white!smoke!leaped!on!a!mushroom!cloud;!a!huge!ball!of!fiery!yellow….!A! pillar!of!swirling!particles.’152!The!emphasis!was!on!natural!imagery.!! The!atomic!bomb!became!a!manRmade!marvel!of!nature,!extinguishing!all! responsibilities!for!the!effects!of!the!explosions.!The!published!photos!of!the!atomic! explosions!showed!the!mushroom!clouds!without!scalar!references,!floating!in!an! undefined!atmospheric!region.!The!strategy!of!the!media!outlets!brought!the!atomic! explosion!into!line!with!important!Modernist!visions!of!science!and!warfare.!This!made! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 150!Jackson!Pollock,!in!Jackson!Pollock:!Interviews,!Articles,!and!Reviews,!edited!by!Pepe!Karmel.!(New!York:! Museum!of!Modern!Art;!Harry!N.!Abrams)!p.!22! 151!Jane!Pavitt,!“The!Bomb!in!the!Brain,”!in!Cold!War!Modern!–!Design!1945F1970,!eds.!David!Crowley!and! Jane!Pavitt!(London:!Victoria!and!Albert!Museum,!2008)!pp.!101R119.! 152!Peter!B.!Hales,!The!Atomic!Sublime,!p.!9,!accessed!July!19,!2017,!see:! https://journals.ku.edu/amerstud/article/view/2890/2849/! ! 111 the!American!public!see!the!atomic!bomb!as!a!continuation!of!modern!warfare,!rather! than!a!violation!of!its!norms.153!! The!technique!of!media!outlets!was!a!complete!repression!of!the!horrors!of!these!events,! whilst!aestheticizing!the!event!in!the!tone!of!the!nineteenth!century’s!connoisseurs!of! the!sublime.!The!mystic!embedding!of!the!atomic!bomb!into!the!grandeur!of!nature,!as! the!manifestation!of!God’s!will!have!been!the!result!of!the!dominant!mass!cultures! presentation!of!the!atomic!bomb.!Peter!Hales!also!speaks!at!length!about!a!Holocaust! when!describing!the!atomic!explosions.!This!shows!the!span!between!different! perspectives:!the!Modernist!one!and!the!pacifist!critical!one.!The!alteration!of!events!can! be!observed!till!today!the!beginning!of!the!twentyRfirst!century!–!nothing!has!changed.!! I!am!mentioning!here!Peter!B.!Hales!essay!because!of!his!intriguing!description!how! aesthetics!can!alter!meaning!and!can!be!more!powerful!than!the!initial!information! linked!to!the!depicted!event.!Furthermore,!this!essay!demonstrates!the!capacity!and! function!of!visual!imagery.!Aesthetics!can!be!directed!to!attract!attention!and!to! transmit!a!notion,!a!sensual!experience!and!the!‘meat’!of!a!subject.!The!atomic! explosions!have!been!beautified.'In!my!work!I!research!the!reverse!methodology:!to! paint!menacing!and!alarming!damage,!which!warns!and!supports!the!awareness!about! radiation’s!dreadful!consequences.! ! Fig.!110:!sea!of!lies,!2018,!aluminium,!egg!tempera!on!wall!and!floor,!300!x!850!x!550!cm,! mutative!painting,!Kunstverein!Duisburg! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 153!Peter!B.!Hales,!The!Atomic!Sublime,!p.!11.! ! 112 ! Fig.!111:!sea!of!lies,!2018,!left!side!view! ! ! Fig.!112:!sea!of!lies,!2018,!right!side!view! ! Political'Content'in'Radiationscapes''' ! The!documentary!Deadly!Dust,!by!Frieder!Wagner!about!Prof.!Dr.!Dr.!Siegwart!H.! Guenther,154!made!radioactive!contamination!a!main!research!subject!for!me.!The!use!of! depleted!uranium!warheads!is!currently!one!of!the!worst!radioactive!pollutions!on!earth.! Several!countries!are!still!using!these!weapons!and!their!toxicity!is!denied.155.!Since! watching!this!documentary!the!abuse!of!radioactive!weapons!became!a!center!point!of! my!interest!about!the!contemporary!environment!we!live!in!and!with!today.!!I!decided! to!use!the!subject!matter!of!radioactive!contamination!through!depleted!uranium! munitions!in!my!work!because!it!is!an!unspoken!hidden!war!crime!that!will!contaminate! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 154!Der!Arzt!und!die!verstrahlten!Kinder!von!Basra,!by!Prof.!Dr.!Dr.!Siegfried!Horst!Günther,!accessed!between! 2005!–!July!10,!2015,!https://www.youtube.com/watch?v=ERmabAyg4X0!or! https://www.youtube.com/watch?v=YwrFRqZKqUw!last!accessed!September!6,!2019,!Deadly!Dust!follows! step!by!step!the!research!of!Mr.!Guenther!who!devoted!himself!to!proving!the!damages!depleted!uranium! weapons!cause!if!detonated!or!even!just!touched!by!soldiers.! 155!Wikileaks,!March!2,!2019,!https://www.wikileaks.org/plusd/cables/09KUWAIT180_a.html! ! 113 countries!for!billions!of!years.!As!an!artist!I!am!not!interested!in!covering!news!like!a! journalist.!However,!I!am!making!work!that!is!meant!to!be!public.!My!interest!is!in! nature!and!painting,!and!I!am!painting!nature!that!has!been!transformed!through! radioactive!contamination.!! In!2014,!my!exhibition!radiation!scapes!included!works!that!intended!to!depict!the! invisible!impacts!produced!by!radiation.!These!works!draw!attention!to!the!meaning!of! landscape!art,!as!Erwin!Straus!significantly!writes:!‘Landscape!painting!does!not!depict! what!we!see,!i.e.,!what!we!notice!when!looking!at!a!place,!but!–!the!paradox!is! unavoidable!–!it!makes!visible!invisible,!although!it!be!something!far!removed.!Great! landscapes!all!have!a!visionary!character.!Such!vision!is!of!the!invisible!becoming! visible.’156!In!my!first!series!of!radiation!scapes!I!altered!my!painting!language!through! thinking!about!the!invisible.!I!introduced!unpainted!shapes!into!my!painting!and!I!began! working!with!a!reductive!method.!Through!white,!unpainted!negative!shapes!I!achieved! a!strong!notion!of!what!I!call!infiltration!and!this!has!been!discussed!in!Chapter!3.!! A!few!contemporary!artists!deal!with!the!subject!matter!of!radioactive!contamination.! An!artist!whose!works!I!investigated!is!Bogomir!Doringer,157!who!was!raised!in!former! Yugoslavia.!Doringer’s!art!installation!hospitality!is!based!on!interviews!with!civilians! and!soldiers!who!had!been!exposed!to!deplete!uranium!dust!and!also!interviews!of! relatives!of!people!who!have!died!of!depleted!uranium!poisoning.!The!documentary! artwork!is!a!5Rchannel!installation!combined!with!sculptural!epoxy!blocks!that!serve!as! projection!screens.!This!installation!is!deeply!touching!as!a!result!of!the!detailed! descriptions!of!the!victims.!! Similarly!to!my!graphic!novel!Murphy!the!mutant!Doringer’s!installation!communicates! this!tragic!unspoken!war!crime.!Doringer’s!approach!is!to!present!the!information! directly!and!his!sculptural!composition!is!arranged!to!support!the!time!based!nature!of! his!work.!My!approach!focuses!on!an!abstract!dynamic!that!draws!the!observer!into!the! work!and!makes!the!information!accessible!at!second!glance.! Furthermore,!I!want!to!point!out!the!exhibition!Hot!Spots:!Radioactivity!and!the! Landscape!by!the!American!curators!Jennie!Lamendorf!and!Joan!Linder!–!held!at!the!UB! Art!Galleries,!University!of!Buffalo!(2018).158!Both!curators!came!through!their!contact! with!radioactive!contaminations!in!Albuquerque,!New!Mexico!and!Buffalo,!New!York,! and!selected!artists!who!address!this!issue!in!photography!and!digital!media!(Robert!del! Tredici,!Abbey!Hepner,!Ludovico!Centis,!Jeremy!Bolen,!Edward!Burtynsky,!Adele! Henderson,!Abbey!Hepner,!Amie!Siegel,!Will!Wilson,!Claudia!X.!Valdes),!video/film!(art! collective!Don’t!Follow!the!Wind,!Isao!Hashimoto,!Cynthia!Madansky,!Angelika! Brudniak),!installation,!sculpture!(Elizabeth!Demaray,!Naomi!Bebo),!drawing/painting! (Michael!Brill,!Safdar!Abidi,!Nina!Elder)!and!participative!art!(Erich!Berger,!Mari!Keto).!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 156!Erwin!Straus!quoted!in!Elizabeth!Grosz,!Chaos,!territory,!art,!op!cit,!p.!79.!Original:!Erwin!Straus,!The! Primary!World!of!the!Senses:!A!Vindication!of!Sensory!Experience!(London:!CollierRMacMillan,!1963).! 157!Bogomir!Doringer,!Hospitality,!Bogomir!Doringer!Info,!accessed!November!2015!and!December!2018,! http://bogomirdoringer.info/hospitality! 158!Exhibitions,!Hot!Spots:!Radioactivity!and!the!Landscape,!UB!Art!Galleries,!September!2018,!accessed! October!2018,!https://ubartgalleries.buffalo.edu/exhibitions/hotRspotsRradioactivityRandRtheRlandscape/! ! 114 A!key!message!of!the!exhibition!was!that!the!United!States!has!no!solution!for! radioactive!waste!management.!One!work!of!particular!interest!to!me!is!Beaded!Mask!by! Naomi!Bebo.!The!mask!is!highly!decorated!and!seduces!the!onlooker.!The!work!looks! into!the!future!and!imagines!a!time!when!it!will!only!be!possible!to!breath!through!gas! masks.!The!decoration!on!the!mask!refers!to!Native!American!culture.!The!major!tests! sites!for!nuclear!weapons!in!the!United!States!are!in!Nevada!and!New!Mexico!–!areas! that!have!been!populated!by!Native!American!people.!The!aesthetic!attraction!of!the! mask!can!be!referred!to!the!colourful!aesthetic!of!my!paintings.!! Michael!Brill!&!Safdar!Abidi,!who!in!the!1990s!imagined!a!landscape!that!makes!the! danger!of!invisible!radioactive!contamination!visible,!are!also!of!relevance!here.!The! drawings!are!illustrative!but!the!abstraction!suggests!aggression!and!danger.!The!forms,! for!example,!are!hardRedged!and!pointy.!The!human!in!the!landscape!is!drawn!at!a!small! scale.!In!my!work,!I!use!similar!abstraction!to!show!danger!and!an!aggressive!force.! Lamensdorf!and!Linder!give!an!insight!to!various!artistic!approaches!that!try!to!render! the!invisible!visible,!which!as!I’ve!described,!is!my!aspiration.!! ! Fig.!113:!eX!de!Medici,!The!theory!of!everything,!2005,! watercolour!and!metallic!paint!on!Arches,!114!x!176!cm! ! 115 ! Fig.!114:!eX!de!Medici,!I!killed!her!with!my!club,!2017,! watercolour!and!egg!tempera!on!paper,!114!x!345!cm! The!need!to!suggest!clear,!understandable!meaning!in!my!painting!was!made!evident!in! a!conversation!with!the!artist!eX!de!Medici!in!Canberra.159!When!de!Medici!saw!a!photo! of!my!Spatial!Painting,!omen,!she!mentioned!that!the!structure!of!the!composition!and! its!aggressiveness,!resembled!the!weird!aesthetic,!explosiveness!and!destruction!that!is! distinctive!of!atomic!clouds,!but!in!a!totally!abstract!nonRrepresentational!language.!The! atomic!clouds!are!nearly!symmetrical!but!my!painted!forms!are!not.!She!took!a!book! from!the!shelf!in!her!studio!with!photos!of!atomic!clouds,!from!various!test!sites,!wars! and!other!catastrophes!between!1945!and!1962160.!I!looked!at!her!book:!seeing!these! gigantic!clouds,!photographed!over!a!period!of!17!years,!connected!the!aesthetic! propaganda!of!governments!to!visual!forms!in!my!paintings.!The!shapes!of!the!clouds! took!on!patternRlike!forms,!akin!to!the!sensation!when!you!are!looking!through!a! kaleidoscope.!All!of!these!atomic!clouds!seemed!to!me!like!the!clear!appearance!of! fractals.!For!me!a!universal!structure!seems!to!lie!beneath!all!forms,!including!the! shapes!of!atomic!clouds,!which!have!the!highest!and!most!destructive!source!of! energy.161!! ! Fig.!115:!mutative!perspective!painting,!2014,!68!projects,!Berlin! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 159!eX!de!Medici,!conversation!with!the!author,!Canberra,!June!2014.! 160!See!Michael!Light,!100!suns:!1945F1962!(New!York:!Alfred!A.!Knopf,!2003).! 161!Edward!Sipmsons,!Conversation!with!the!author,!Canberra,!July!24,!2015.! ! 116 Whilst!exhibiting!omen!in!Berlin!in!the!exhibition!mutative!perspective!painting!(2014),!I! observed!that!visitors!were!randomly!enthusiastic!about!the!Spatial!Painting!because!of! its!high!dynamic,!size!and!three!dimensionality!–!while!perceiving!it!as!an!informal,!non! objective!painting.!Watching!how!my!work!was!understood!made!me!aware!that!inside! the!painting!I!need!to!point!directly!to!the!subject!matter!of!the!work.!I!defined!my!next! aim:!to!investigate!ways!of!communicating!clear!meaning!in!abstraction.!After! discussing!my!work!with!eX!de!Medici,!I!planned!to!include!conscious!narrative! elements!with!the!aim!of!transmitting!a!very!clear!visual!message!–!even!in!my!largeR scale!Spatial!Paintings.!I!wanted!to!develop!a!practice!of!combining!explosive! expressionist!abstraction!with!symbolRlike!elements,!maybe!even!with!comic!characters! or!places!that!look!futuristic.!! ! Narrative'in'Spatial'Paintings'' ! As!an!artist!I!carefully!select!the!information!I!want!to!use!in!my!work.!The!art!historian! and!curator!Jennie!Lamensdorf!has!described!my!process!in!a!clear!and!useful!way,! which!I!will!relay!here:!!! The!ovoid!paintings!feature!references!to!landscapes!and!aerial!maps!overlaid! with!fragments!of!texts!and!url!codes,!which!hint!at!the!work’s!content!without! giving!away!its!secrets.!!Chaseling’s!appealing!bright!colors!and!shiny!surfaces! function!as!a!Trojan!Horse!to!deploy!serious!content:!for!years,!Chaseling!has! been!researching!and!making!work!about!the!invisible!destructive!forces!of! radioactive!contamination,!primarily!as!it!results!from!the!US!and!NATO’s!use!of! depleted!uranium!munitions!for!over!two!decades!in!the!Balkans,!Persian!Gulf,! and!Afghanistan.162! I!try!to!avoid!very!detailed,!or!figurative!representation!because!it!blocks!the!full! presence!of!colour,!composition!and!the!dynamic!of!the!painting.!A!strong!feeling!or! reaction!in!the!beholder!might!be!evoked,!but!the!cause!cannot!be!pinned!down.!The! affect!of!the!painting!is!uncontrollable.!I!looked!for!a!solution!that!guides!the!mind!so! that!after!looking!and!experiencing!the!painting,!the!viewer!comes!back!to!the!subject! matter!and!the!cause!of!the!painting.!!! For!my!work!I!need!a!clear!understanding!of!the!space,!atmosphere,!objects!and!the! combination!of!several!of!those!elements!that!I!want!to!paint.!Imagining!the!space!is!a! more!complicated!process!than!absorbing!actual!space.!If!necessary,!I!draw!by! observing!a!photograph!(if!I!can’t!visit!this!place)!until!it!becomes!live!and!active!in!my! intuition!and!imagination.!My!starting!point!is!to!use!forms!in!painting!which!result! from!nature.!Then!I!dismantle!the!set!the!structure!of!my!paintings;!I!try!to!find!the!form! that!will!sensually!embody!my!idea.! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 162!Jennie!Lamendorf,!Radiationscape,!Time!Equities,!Art!in!Buildings,!September!2018,!! see!https://teiartinbuildings.com/exhibitions/claudia_chaseling/110! ! 117 ! Fig.!116:!silent!chain!2,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!oviform!200!x!120!cm! ! 118 ! Fig.!117:!end!of!story!F!we!use!it,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!oviform!150!x!100!cm! ! ! ! Fig.!118:!a!sense!of....,!2017,!pencils!and!paint!markers!on!postcard,!10!x!15!cm! The!use!of!text!in!my!work!is!linked!with!my!abstract!painting!language.!In!small! concentrated!sketches!I!try!to!find!abstract!shapes!that!encompass!meaning!and!induce! clear!emotions.!Having!explored!Spatial!Painting!and!the!use!of!voids,!I!then!turned!to! include!abstract!language!in!painting.!I!realised!that!an!abstract!‘squiggle’,!a!freely! invented!form,!can!carry!a!specific!emotion.!The!first!step!I!took!in!exploring!the!force! and!precision!of!abstract!language!was!a!series!of!over!painted!postcards!and!photos! ! 119 with!a!text!added.!Some!of!these!small!paintings!seem!to!speak!about!the!personal,! something!poetic!and!as!well!about!politics.!Viewing!these!series!later!I!have!realized! that!the!abstract!informal!doodle!with!matt!lithographic!pens!and!glossy!paint!markers! encompass!a!definite!connection!to!the!text!I!wrote!with!the!image.!! I!look!for!photos!that!complement!my!ideas!and!often!choose!ones!with!natural!scenes!– such!as!water!and!sky.!Recently!I!painted!a!series!of!over!painted!small!postcards! dealing!with!the!subject!of!radioactive!contamination!and!the!way!in!which!certain! governments!have!tried!to!deceive!the!public.!I!have!continued!with!this!method!if!overR painting!postcards!to!further!my!vocabulary!of!abstract!forms!and!dynamics.!Instead!of! describing!a!particular!concept,!these!small!paintings!‘doodle’!intuitively,!like!they!were! monitoring!thoughts.!It!is!like!untangling!a!cliché!found!in!the!postcard!–!the! monuments!and!signifiers!of!a!city,!and!bringing!forward!what!counts!for!me!at!the! moment!of!executing!these!small!paintings.!Many!thoughts!and!ideas!discovered!in! these!small!works!grow!into!visual!elements!that!I!paint!later!in!larger!scale.!! ! ! Fig.!119!and!Fig:!120:!all!quiet!here!and!targets,!2015,!watercolour!and!pencil!on!paper,!each!24!x!38!cm! ! Inserting'Text'in'the'Pictorial'Field' ! I!looked!for!a!method!to!connect!powerful!abstraction!with!precise!content.!Firstly,!I! developed!forms!that!seemed!abstract,!but!when!looking!longer!could!be!decoded.!The! next!step!was!adding!text!or!verbal!supplements!to!my!work.!In!2015,!I!began! experimenting!with!adding!the!titles!of!the!work!into!the!paintings!and!later!painting! web!links!that!connected!to!specific!web!pages!about!my!subject!matter.!My! investigation!between!text!and!abstraction!has!led!me!to!resolve!the!complex!structure! of!the!works,!between!spatial!ambiguity!and!narrative.! This!big!shift!happened!through!a!conversation!with!the!artist!Destil!Markovic!in!2015:!I! realized!that!the!problem!of!my!work!being!perceived!as!formalist!painting!could!be! annulled!if!I!began!using!text!in!painting.!I!spent!August!and!September!2015!drafting! watercolours!and!including!text!into!the!painting.!!To!include!text!into!the!homogenous! atmosphere!of!the!painting!seemed!challenging.!!I!always!perceived!the!surface!of!the! painting!as!space!and!text!had!nothing!to!do!with!this!concept.!However,!to!make!my! subject!matter!as!clear!as!possible,!I!added!text!inside!the!composition!of!my!painting! similarly!to!how!I!began!adding!decodable!forms.!! ! 120 ! Fig.!121:!seventy!years,!2015,!watercolour!and!pencil!on!paper,!24!x!38!cm! I!explored!text!in!small!watercolours!depicting!mutated!frogs!and!fish.!2015!was!the! year!of!the!anniversary!of!the!atomic!bomb!attacks!on!Japan!in!1945.!I!painted!two!more! watercolours!to!commemorate!the!misery!of!these!war!attacks.!I!was!surprised!at!how! easily!the!text!merged!into!the!painting!and!how!much!sense!this!made.!Following!this! realization!I!adapted!this!technique!upon!larger!paintings!on!canvas.!To!embed!the!text!I! decided!to!write!it!with!floor!peel!–!the!substance!I!have!used!to!cover!floors!–!to!be!able! to!remove!the!painted!areas!after!the!exhibition.!The!structure!of!the!text!automatically! becomes!abstracted!and!‘structureless’!so!there!is!no!rupture!between!painting!and! writing.!When!I!see!the!painting!as!completed,!I!remove!the!paraffin!layer!and!also!the! floorRpeel!text!layer.!The!results!were!satisfying!because!with!one!element!added!to!my! paintings!I!managed!to!leap!away!from!formalism!and,!at!the!same!time,!place!all!of!the! focus!onto!my!subject.!Taken!from!my!graphic!novels,!I!added!speech!bubbles!into!the! paintings.!The!speech!bubbles!seem!like!another!abstract!form,!but!one!that!gives!space! and!attention!to!words.!! ! Fig.!122:!sea!of!lies,!detail! ! 121 ! Fig.!123:!9!out!of!10,!detail,!2016! ! ! ! ! ! 122 Rendering!the'Silent'Genocide'Visible!! ! ‘Silent!Genocide’!is!a!phrase!used!by!communities!struck!by!radioactive!contamination! caused!by!detonations!of!depleted!uranium!munitions.163!The!uranium!for!these! weapons!originates!in!the!waste!material!of!nuclear!reactors,!depleted!uranium! munitions!are!weapons!of!mass!destruction!and!their!use!is!a!war!crime.164!! Learning!about!this!reality!and!war!crimes!has!touched!me!over!several!years.!While! doing!my!research,!it!was!as!if!I!had!been!‘walking’!through!written!information,! conversations,!and!images!of!places,!embedding!my!imaginings!of!radioactive!pollution! and!the!invisible!infiltration!surrounding!us.!I!aim!for!a!sense!of!deterioration,!one! colour!piercing!and!crossing!with!another,!more!and!more,!until!the!layers!capture! depth!and!dynamism.!If!I!paint!a!colourRfieldRshape!and!place!it!near!the!areas!of!high! density,!both!react!together!to!create!a!high!level!of!tension.!It!seems!like!the!opposites! need!each!other!and!that!only!by!brining!these!contrasting!characteristics!together!can! both!techniques!express!their!full!power.!! I!painted!black!and!white!(lies)!in!2015.!In!this!145!x!145!cm!painting!I!layered!an!image! of!Darth!Vader’s!space!ship!above!a!costal!landscape!with!deserted!bunkers.165!I!used! these!motifs!to!indulge!myself!in!the!subject!of!war!and!manipulation,!the!space!ship! being!the!symbol!of!the!dark!force!as!it!is!featured!in!the!Hollywood!movies.!I!painted! layer!above!layer!in!this!painting!to!erase!the!comicRlike!figurative!content!again,!which! was!too!literal.!Instead,!I!focused!on!notions!like!aggression!and!a!chaotic!entangled! environment!deleting!all!parameters!for!orientation.!To!embed!a!reference!to!the! content!of!this!painting!I!wrote!the!text!‘black!and!white!lies’!on!the!canvas.!To!prevent!a! posterRlike!effect!I!used!the!rubbery!liquid!floorRpeel!for!the!text.!After!removing!this! rubbery!text,!a!negative!space!was!left!for!the!letters.!I!searched!for!a!long!time,!layer! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 163These!are!places!like!southern!Iraq,!Kosovo,!southern!Serbia,!Afghanistan,!Libya,!Yemen,!Syria!and!many! more!which!had!been!experiencing!wars!since!1990.! !!!!See!Einar!Schlereth,!Jürgen!Kuhlmann,!Sigrid!Lauke,!Brigitte!Queck,!Das!best!gehütete![sic]!Geheimnis!der! US/NATO:!DUFWaffen!(The!Best!Kept!Secret!of!the!US/NATO:!DU!Weapons),!http://muetterRgegenRdenR kriegRberlin.de/DURWaffen_Das_best_gehuetetste_Geheimnis_der_US_NATO.htm,!last!accessed:!November! 2015,!and!Grigory!Milenin,!Yugoslav!Bombings!15!Years!Later:!U.S.FNATO!Aggression!In!Europe,' https://rickrozoff.wordpress.com/2014/03/24/yugoslavRbombingsR15RyearsRlaterRuRsRnatoRagressionR inReurope/,!last!accessed!December!2015.!! !!!!See!International!Coalition!to!Ban!Uranium!Weapons,!Users!–!Research!into!the!murky!world!of!arms! industry!exports!and!the!proliferation!of!DU!weapons!around!the!world,! http://www.bandepleteduranium.org/en/users!and!The!Weaponisation!and!Commercialisation!of! Depleted!Uranium,!http://www.wandsworthRstopwar.org.uk/du/weaponcomm.htm,!last!accessed! September!2015.!! !!!!See!The!Center!for!Media!&!Democracy,!Depleted!Uranium,! http://www.sourcewatch.org/index.php/Depleted_Uranium:!“DU!is!currently!used!by!the!industry!in!the! manufacture!of!armour!piercing!munitions!and!antiRtank!projectiles.![…]!At!least!17!countries!are!thought! to!have!weapon!systems!containing!DU!in!their!arsenals.!These!include:!UK,!US,!France,!Russia,!Greece,! Turkey,!Israel,!Saudi!Arabia,!Bahrain,!Oman,!Egypt,!Kuwait,!Pakistan,!Thailand,!China,!India!and!Taiwan.! Many!of!them!were!sold!DU!ammunition!by!the!US!while!others,!including!France,!Russia,!Pakistan!and! India!are!thought!to!have!developed!it!independently.”,!last!accessed:!February!2016.!In!addition!to!the! regular!use!of!depleted!uranium!munitions,!the!USA!is!expanding!the!deployment!of!atomic!weapons! throughout!the!EU.! 164!See!Robert!James!Parsons,!America’s!big!dirty!secret,!Le!Monde!diplomatique,!English!edition,!March! 2002,!http://mondediplo.com/2002/03/03uranium,!last!accessed:!February!2016.' 165!I!used!a!Star!Wars!drawing!book.!The!images!of!costal!bunkers!I!took!from!drawings!and!photographs!I! made!at!Point!Nepean!on!the!Mornington!Peninsula!in!Victoria.! ! 123 above!layer,!for!the!forms!that!would!capture!for!me!a!deteriorating!force.!In!this! process!the!painting!nearly!became!covered!with!holes,!and!in!some!spots!the!canvas! became!so!thin!that!the!light!shone!through.!In!other!parts!the!colour!is!thick.!! The!painting!Hadzici,!also!completed!in!2015!(Fig.!16,!p.!27),!shows!a!similar!radical! aggressiveness.!The!painting!seems!to!have!been!destroyed,!overRpainted!and!reformed.! The!last!layer!above!the!chaotic!colour!combinations!are!sharp!aluminium!shapes.!I! aimed!for!a!sense!of!tearing!apart,!infiltration!and!‘heavy!impact’.!Subtly!in!this!painting! you!can!read!the!words!‘silent!genocide’.!The!title!is!the!name!of!a!town!in!Bosnia! Herzegovina!that!had!been!bombed!with!depleted!uranium!munitions!in!1995.! Following!this!NATO!intervention!a!large!percentage!of!the!population!died!of!cancer.166!!! ! Fig.!124:!involution,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!140!x!140!cm! ! The'Function'of'Aluminium'in'SiteKmutative'Painting! ! As!already!described,!another!technical!aspect!resulting!from!working!with!the!subject! matter!of!radioactive!contamination!is!my!use!of!aluminium!in!painting.!I!investigate!the! process!and!my!reasons!in!the!section!Distorted!Perspective!and!SiteFmutative!Painting!in! Chapter!3.!Here,!I!will!describe!the!last!development!in!my!practice!that!has!used!leafR aluminium.!! I!decided!to!use!leaf!aluminium!on!canvas!paintings!instead!of!0,1!mm!thick!sheet! aluminium.!The!sheet!material!is!difficult!to!form!and!can!cut!the!canvas.!!I!watched! Milovan!Destil!Markovic!working!with!gold!leaf,!producing!a!smooth!shiny!surface.! Destil!Markovic!uses!leaf!gold!to!capture!light!and!as!a!conceptual!gesture!in!his!painting! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 166!Global!Voices,!Bosnians!say!NATO!Bombs!Brought!Angel!of!Death,!February!21,!2005,!accessed!by!the! author!May!20,!2017,!https://iwpr.net/globalRvoices/bosniansRsayRnatoRbombsRbroughtRangelRdeath! ! 124 and!installations.!In!early!works!he!covered!railway!sleepers!with!gold!leaf.!The!result! was!an!installation!of!contradictions,!the!light!on!the!dark!rugged!wood.!In!his!recent! paintings,!he!applies!leaf!gold,!which!is!added!like!paint!onto!the!canvas.!Similarly!to!his! concept!in!the!early!works,!gold!represents!the!spirit!and!light!–!or!alternatively,!wealth! and!capitalism.!! ! Fig.!125:!Milovan!Destil!Markovic,!Inquisition,!2018,! gold!leaf,!pigments!and!MDM!binder!on!canvas,!250!x!450!cm! My!first!experiments!with!silver!leaf!went!out!of!control;!the!silver!became!randomly! stuck!to!the!canvas.!I!persisted!until!the!work!was!back!on!track!with!my!original!idea.!I! imagined!I!could!write!my!texts!with!leaf!silver!or!leaf!aluminium.!Two!problems! occurred:!on!my!oily!and!dry!surface!the!glue!dried!unevenly,!so!the!leaf!material!stuck! irregularly!and!also!became!caught!on!wet!paint.!The!second!problem!was!to!get!the!fine,! light!and!ephemeral!leaf!material!to!sit!flat!upon!the!surface!of!the!work.!It!resembled,!in! some!areas,!aluminium!foil!rather!than!a!sleek!planned!intervention.!With!time,!I! managed!to!master!the!method!for!attaching!the!metal!leaf!smoothly.!! To!apply!the!leaf!aluminium!evenly!and!to!press!it!down!in!a!way!that!it!would!not!show! too!many!crinkles,!I!exchanged!my!oil!glue!to!acrylic!glue.!The!oil!glue!did!not!dry!on!my! variable!surfaces.!Acrylic!glue!is!an!evenly!drying!compound,!which!can!be!applied!to! different!surface.!The!text!I!aimed!to!write!with!leaf!aluminium!is!now!more!visible.!To! give!the!text!full!clarity!I!decided!to!surround!the!silver!writing!with!a!pen.!! In!my!latest!oviform!painting,!I!used!the!leaf!material!to!add!forms!like!crosses!and!stars.! This!gave!a!surprising!result:!on!the!painting!the!bright!gestures!add!highlights!but!are! at!the!same!time!embedded!into!the!whole!painting.!! ! 125 ! Fig.!126:!past!is!past!and!always!present,!2017,! leaf!aluminium,!egg!tempera!and!oil!on!canvas,!oviform!150!x!100!cm! ! Fig.!127:!due!to!the!heat!1,!2017,! leaf!aluminium,!egg!tempera!and!oil!on!canvas,!oviform!150!x!100!cm! ! 126 ! Fig.!128:!future!told!me!she!has!a!headache,!2017,!! !aluminium!leaf,!egg!tempera!and!oil!on!canvas,!oviform,!oviform!150!x!100!cm! ! I!am!now!able!to!write!with!leaf!aluminium,!and!add!invented!and!rudimental!forms.! Aluminium!is,!for!me,!a!material!that!distorts!what!is!reflected.!It!represents!ambiguity,! something!that!can’t!be!defined!entirely!and!leaves!me!without!full!understanding.!I! would!describe!aluminium!as!slippery.!This!is!why!I!used!aluminium!to!symbolize!the! unpredictability!and!ambiguity!of!radioactive!contamination!–!as!a!symbol!of!our! unpredictable!time!today.!! For!my!last!series!of!paintings!created!for!my!PhD!I!will!also!use!gold!leaf.167!The!work! will!be!titled!mutopia.!The!gold!leaf!will!show!an!ambiguous!reflection!similar!to!silver! leaf!but!my!project!asks!for!a!new!approach!to!materiality.!Gold!leaf!will!stand!for!the! sublime!and!the!ideal!in!contrast!to!the!murkiness!of!the!diffused!reflection.!Formally,! the!use!of!gold!will!push!my!aesthetics!in!painting!to!an!extreme!enabling!my!paintings! to!contain!the!highest!tension!between!colours.!Applying!real!gold!leaf!in!my! compositions!on!canvas!paintings!will!define!this!series!–!mutopia.!! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 167!purchasing!gold!leaf!has!been!made!possible!through!the!Graduate!Harris!&!Hobbs!Materials!Award! ! 127 Capsules:'From'Canvas'to'the'0bject' ! The!last!step!of!my!PhD!has!been!to!revisit!objects!I!had!made!out!of!concrete!in!roundR cylindrical!forms!–!used!as!painting!supports.!I!call!this!series!capsules.!Their!thematic! concern!is!with!the!animals!sent!by!scientists!into!outer!space!between!1959!and!1974.! As!such,!I!name!the!capsuleRlike!forms!after!animal!astronauts.168!I!am!fascinated!by!the! image!of!an!animal,!which!is!caught!in!a!rocket!and!sent!to!outer!space!as!it!relates!to!me! metaphorically:!a!person!born!into!this!existence,!not!knowing!where!it!came!from!or! where!it!is!heading.!The!painted!area!in!my!installation!stands!for!the!known!whereas;! what!is!outside!the!composition!implies!the!unknown.!! Like!humans,!we!are!all!similar!in!form!but!different!and!individual.!With!this!series!of! capsules!I!am!after!a!sense!of!uncertainty,!fear!and!‘being!in!motion’.!The!podRlike,! ovoidal!forms!with!pointy!ends!have!the!size!and!volume!of!a!large!dog!or!a!small!pony.!I! chose!to!use!concrete!in!the!work!as!for!me!it!references!our!contemporary!times.!It!is! the!most!common!product!out!of!which!our!surrounding!cities!are!constructed!and!it! was!also!the!prominent!material!of!my!neighbourhood!growing!up!as!child!in!the! Olympic!City!of!Munich.!In!spite!of!their!cold!materiality,!the!concrete!objects!have!a! warm!vibe!because!of!the!animalRbody!shape!that!I!create.!! The!concrete!capsules!stand!in!close!dialogue!with!my!new!paintings!on!oviform! canvasses.!The!capsules!are!painted!volumes!and!their!environment!is!the!landscape!or! a!Spatial!Painting.!These!works!bridge!flat!canvas!and!convex!painted!volume.!Within! the!space!is!a!concave!painted!volume,!which!links!the!paintings!on!the!canvas!and!walls.! I!built!protrusions!and!spikes!on!the!surface!of!the!form.!These!were!covered!with! smooth!concrete.!Irregular!protrusions!evoke!the!idea!that!a!form!might!grow!from! their!surface!–!a!lump!or!a!wing.!The!object!is!in!the!process!of!mutation.!In!these!last! months!of!my!research!the!circle!is!closing.!Finally!I!have!been!able!to!establish!an! additional!dialogue!of!biomorphic!forms;!not!only!between!wall,!floor,!ceiling!and! canvas!but!also!between!canvasses,!walls!and!capsules.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 168!The!Cold!War!period,!particularly!during!Khrushchev!’s!thaw!in!the!USSR,!brought!about!(and! occasionally!even!fulfilled)!the!fantasy!about!‘conquering!the!Cosmos,’!even!if!Laika,!the!dog!sent!into!the! outer!space!in!1957,!did!not!come!back!to!the!earth.!In!contrast!her!doggy!successors,!Belka!and!Strelka,! luckily!did.! ! 128 ! Fig.!129:!Gladys,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!concrete,!130!x!40!cm!diameter! in!the!background!Esmeralda!and!Albert!2! ! Fig.!130:!Coding!the!Earth!R!The!Darker!the!Night!the!Brighter!the!Stars,!2018,! collaboration!with!Milovan!Destil!Markovic,! polycarbonate,!pigments,!MDM!binder,!leaf!aluminium,!concrete,!wood!and!solar!lights,! 300!cm!x!500!cm!x!300!cm,!Lorne!Biennale,!Victoria! ! ! 129 The'‘Affective'Tone’'of'Spatial'Painting' ! Moving!away!from!my!viewpoint,!the!geometrical!space!gains!power!again!and!my! composition!shows!all!the!sharp!angles!that!I!need!to!paint!to!make!the!space!appear!flat.! Some!of!the!dynamic!remains:!one!can!read!text!elements!clearly!and!colour! composition!functions!on!a!different!level,!but!the!flatness!has!vanished!–!just!like!a! rainbow!you!see!driving!on!the!highway.!It!moves!with!you!for!a!short!while,!suddenly!it! has!diminished!or!has!fully!disappeared.!It!never!conforms!to!the!way!we!have!learned! to!read!perspectival!space.!! The!art!historian!and!writer!Susan!Best!distinguishes!the!term!‘affect’!in!art!and!it’s! importance.!Partially!confirming!the!description!of!affect!through!philosopher!Edward! Casey,!she!writes!that!the!affective!dimension!of!a!work!of!art!accounts!for!the! cohesiveness!of!expression!and!the!continuity!between!subject!and!object.!For!Casey,! affect!is!the!felt!dimension!of!art.!Feeling,!Best!says,!is!spontaneous!and!obscure!at!once.! Therefore!the!affective!dimension!might!be!felt!promptly,!but!the!meaning!becomes! coherent!later.169!She!also!states!that!the!affect!of!a!work!of!art!is!subjective.!When!the! response!of!the!viewer!matches!the!tone!of!the!work,!a!communication!or!transmission! of!affect!takes!place.!When!the!tone!of!the!work!and!recipient!are!varying.!She!speaks!of! affectless!art.!! As!a!way!of!concluding!this!chapter!I!would!like!to!write!precisely!about!the!role!of!the! affective!moment,!which!is!so!crucial!for!understanding!and!reception!of!my!work.! Best’s!analysis!of!the!realRtime!presence!of!art!is!essential!because!I!see!my!work!in!its! abstraction!as!being!present!through!affective!qualities.!I!transform!in!my!work! narrative!content!and!conditions,!which!I!record!in!drawings,!sketches,!photos!and! notes!into!abstract!painting!language.!Nothing!of!the!content!can!be!seen!at!first.!I!even! try!to!erase!every!aspect!of!figuration!so!that!the!forms!cannot!be!‘read’!too!quickly.! Often!I!start!painting!my!subject!in!naïve!ways:!for!example,!I!draw!mutants,!landscapes,! planes!and!explosions.!In!my!opinion!being!too!descriptive!blocks!the!abstract!language! in!it’s!pure!affect.!Painted!figures,!eyes,!animals!or!planes!are!perceived!by!my!logic!first.! In!the!painting!process!I!overRpaint!or!erase!descriptive!elements!and!merge!these! forms!into!less!representational!lines!and!shapes.!!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 169!Susan!Best,!Visualizing!Feeling,!Affect!and!the!Feminine!AvantFgarde!(London!and!New!York:!L.B.Tauris,! 2011),!pp.!6R7.! ! 130 ! Fig.!131:!inquisition,!detail,!2016! In!this!‘not!any!more!representational!form!of!painting’!I!can!create!energy!and!tensions! that!capture!the!content!of!my!desired!subject!matter!and!its!emotional!information.!In! the!Spatial!Painting!inquisition!the!clearest!form!is!of!a!warplane!carrying!bombs!and!a! NATO!star.!I!embedded!the!plane!using!a!neon!yellow!background;!even!this!element!is! one!of!the!largest!shapes!in!the!work.!Looking!at!the!painting!I!can!see!the!plane!only! later!when!the!overall!work!already!had!its!say!–!and!affect.!The!NATO!star!is!similarly! inserted!on!the!canvas.!More!figurative,!this!shape!it!is!reduced!and!also!stays!as!a! symbol!in!the!background.!It!is!absorbed!into!the!abstract!power.! Best!points!out!three!reasons!for!the!neglect!of!feeling!in!art!since!late!Modern!art.!One! she!calls!a!‘methodological!blind!spot’,!a!semiological/!postRstructuralist!approach!to!art! and!the!neglect!of!considering!the!communicative!function!of!feeling.!A!second!problem! is!the!separation!of!art!history!from!aesthetics,!leading!to!traditional!aesthetic!concerns.! Her!third!point!is!the!aesthetic!ideal!exemplified!by!Minimalism!and!Conceptualism!with! its!intention!to!express!no!feeling.170!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 170!Ibid.,!pp!6R7.! ! 131 ! Fig.!132:!devolution!(it's!really!not!rocket!science),!2017,! aluminium,!egg!tempera!and!oil!on!canvas,!110!x!110!cm! I!see!no!reason!for!the!desire!to!avoid!feeling!in!art,!only!because!feeling!cannot!be! ‘normed’.!As!an!artist,!I!am!unable!to!give!a!prognosis!about!how!the!public!will!react!to! my!work!and!how!it!will!be!understood.!It!is!impossible!to!make!art!devoid!of!human! association!–!this!is!its!essence.!Best!makes!a!particular!distinction,!describing!the!work! of!male!artists!during!the!1960s–70s!as!aiming!for!an!antiRaesthetic!combative! expression!towards!impersonality,!whilst!female!artists!were!transforming!expression! to!become!an!aspect!of!art!that!can!be!encountered!by!the!beholder,!but!often!not! verbally!communicated.171! I!was!wondering!if!there!is!an!opposition!between!ideas!and!affect.!An!idea!can!be! unconscious!whilst!the!affect!is!always!a!reaction!and!therefore!not!unconscious.!Best! cites!Sigmund!Freud!who!pointed!out!that!‘ideas!are!cathexes!–!basically!memory!traces! –!whilst!affects!and!emotions!correspond!to!processes!of!discharge,!the!final! manifestation!of!which!are!perceived!as!feelings.!The!unconscious!is!supposed!to!be! characterized!by!an!absence!of!contradictions.172!Freud!sees!affects!as!being!conscious.! The!affect!in!art!is!an!immediate!inventory,!and!depending!on!the!observer!the!reaction! in!form!of!emotions!and!thoughts!will!follow.!! Best!continues!with!Ignacio!MatteRBlanco’s!statement!that!list!the!similarities!between! feeling!and!the!unconscious!–!both!are!supposed!to!be!the!opposite!of!thinking!and!are! indivisible.!MatteRBlanco!argues!that!‘feeling!is!highly!saturated!with!the!indivisible! mode!and!that,!consequently,!any!clear!division!between!emotion!and!the!unconscious! is!impossible!to!make.’173!He!contends!that!we!can!describe!what!we!are!thinking!or! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 171!Ibid.,!p.!138.! 172!Sigmund!Freud,!The!Unconscious,!On!Metapsychology:!The!Theory!of!Psychoanalysis!(Harmondsworth,! Penguin,!1984)!p.!181,!or:!Susan!Best,!Visualizing!Feeling,!Affect!and!the!Feminine!AvantFgarde,!cit.,!pp.!87R88.! 173!Ignacio!MatteRBlanco,!Thinking,!Feeling!(London,!UK!and!New!York:!Routledge,!1988)!p.!54,!or:!Susan! Best,!Visualizing!Feeling,!Affect!and!the!Feminine!AvantFgarde,!op.!cit.,!p.!88.! ! 132 perceiving!with!precision,!whereas!descriptions!of!our!feelings!are!always!hazy.174!I! disagree!with!this!rather!narrow!statement!about!emotions!and!it!demonstrates!the! training!and!preferences!of!this!psychoanalyst!and!psychiatrist.!Emotions!are!in!my! opinion!not!in!opposition!to!thinking!and!the!emotions!of!an!affect!can!be!guided!by! knowledge!of!visual!language.!The!caused!affect!heightens!the!alertness!and!works!on!a! deeper!level.! There!is!a!counterbalance!in!my!painting!between!affect!and!thought.!It!begins!with!my! need!to!paint!to!intuitively!comprehend!what!surrounds!me.!Then!the!thought!and! concept!drives!the!abstract!painting!language!and!is!visible!within!the!dynamic!of!forms! and!colours.!Therefore!the!presence!of!the!abstract!dynamic!transmits!to!the!beholder! the!notion!of!the!intended!concept.!I!am!seeking!to!transmit!in!my!work!this!affective! tone.!! ! Fig.!133:!streaming!both!ways,!2019,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!160!x!210!cm! ! ! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 174!Ignacio!MatteRBlanco,!Thinking,!Feeling!(London,!New!York:!Routledge,!1988)!p.!91,!or:!Susan!Best,! Visualizing!Feeling,!Affect!and!the!Feminine!AvantFgarde!(London!and!New!York:!L.B.Tauris,!2011)!p.!88.! ! ! 133 CONCLUSION' ! My!dissertation!has!been!a!fiveRyear!long!journey!during!which!I!have!been!able!to! evolve!both!my!praxis!as!a!painter!and!my!theoretical!approach!to!this!practice.! Through!this!dual!process!–!based!on!both!the!very!act!of!painting!and!on!theoretic! considerations!–!I!made!several!key!findings,!which!became!central!to!my!current! practice!of!Spatial!Painting,!Mutative!Perspective!and!SiteRmutative!Painting.!! ! Fig.!134:!Radiationscape,!detail,!2018! As!I’ve!discussed!in!this!thesis,!Spatial!Painting!applies!various!spatial!systems,!whilst! avoiding!central!perspective!in!painting.!Part!of!the!composition!of!a!Spatial!Painting!is! the!architectural!geometry!of!the!location!in!which!the!painting!is!situated.!If!the!Spatial! Painting!is!comprised!of!a!canvas!(rectangular!or!amorphous!in!shape)!it!is!the!canvas! and!the!Spatial!Painting!that!supersedes!the!parameters!of!the!architectural!location.!! Mutative!Perspective!determines!spatial!understanding!in!relation!to!my!work’s!subject! matter.!In!these!pieces!I!paint!figurative!elements!that!are!in!the!process!of!mutation,! reflecting!my!subject!matter,!which!is!the!impact!of!radioactive!contamination.! Simultaneously,!I!incorporate!the!geometry!of!the!architecture!into!a!composition,! which!acts!by!distorting!the!space!as!if!it!were!in!the!process!of!dissolving.!I!also!apply! this!methodology!to!my!paintings!on!canvas,!but!working!within!an!expanded! architectural!space!taught!me!to!meaningfully!focus!on!the!notion!of!mutation!and! distortion,!with!which!my!practice!is!primarily!concerned.!SiteRmutative!Painting!is!the! adjunct!practice,!which!aims!to!shift!the!atmosphere!of!a!space!so!that!the!viewer’s! embodied!sensual!experience!is!the!conveyor!of!meaning.!! In!the!beginning!of!my!PhD!I!concentrated!entirely!on!the!formal!aspects!of!painting!and! how!I!might!extend!this!medium.!My!first!research!proposal!focussed!solely!on! ! 134 demonstrating!that!paintings!can!transcend!the!physical!reality!of!the!painting!support,! whether!it!is!flat!or!threeRdimensional.!Indeed,!I!concentrated!on!how!painting,!if! extended!onto!walls,!floors!and!ceilings!could!create!a!new!sensation!that!could!be! perceived!immediately,!without!the!rational!knowledge!of!an!interior!space.!I!wanted!to! highlight!that!the!experience!of!viewing!my!painting,!whether!it!was!twoR!or!threeR dimensionally!composed,!should!have!a!stronger!presence!than!the!logical!material! construction!of!the!work.!The!appearance!of!the!painting!creates!a!new!reality!beyond! structure,!and!therefore!with!painting!I!could!make!space!resonate!anew!with!the! viewer.!! Focusing!solely!on!the!formal!aspects!of!my!paintings!is!restrictive.!Too!soon!the! paintings!become!repetitive!aesthetic!objects!without!conceptual!depth.!As!such,!my! research!has!been!concerned!with!questions!regarding!narrative,!one!that!reflects!my! interest!in!and!concern!for!contamination!resulting!from!depleted!uranium!munitions.!It! is!my!perspective!of!the!world!–!my!specific!outlook!–!that!enables!me!to!comment,!to! think!and!to!imagine.!This!is!the!driving!force!of!art:!to!communicate!ideas!using!colour! and!form,!so!that!formalism!and!abstract!painting!are!fused!with!narrative.!As!such,!I! always!begin!a!painting!with!a!socioRpolitical!subject!in!mind.!! ! Fig.!135:!due!to!the!heat!2,!2019,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!170!x!250!cm! My!research!proceeded!by!addressing!this!crucial!point!of!narrative,!asking!the! question:!can!a!dynamic!abstract!painting!transmit!a!clear!and!exacting!message?'The! narrative!component!and!the!language!of!abstract!extended!painting!are!the!two!pillars! that!support!my!practice.!Through!the!development!of!my!research,!I!too!advanced!my! practice!of!painting!in!a!threeRdimensional!space!to!investigate!how!abstraction!in! painting!can!transmit!subject!matters!that!often!exist!beyond!specific!spaces.!!! ! 135 Through!posing!my!research!questions,!I!found!that!the!subject!matter!of!my!paintings! and!their!spatiality!could!be!inextricably!interlinked.!As!such,!it!became!my!approach! and!methodology!to!focus!equally!on!form!and!content.!The!subject!matter!guides!my! discovery!of!new!forms!for!paintings,!and!indeed,!the!inclusion!of!the!third!dimension!as! the!‘support’!for!my!paintings.!! It!is!the!abstract!language!used!in!my!paintings!that!transmits!a!major!part!of!the! meaning.!To!bring!content!and!form!into!affective!dialogue!in!a!painting!is!akin!to! balancing!on!a!tightrope!between!two!skyscrapers!–!until,!that!is,!the!painter!finds!a! system!for!solidly!connecting!both.!! I!believe!that!it!is!essential!for!contemporary!art!today!–!my!contemporary!art!–to!adopt! a!formalist!approach!to!making!the!material!‘speak’!by!addressing!a!social!narrative.! One!unique!characteristic!of!our!time!is!how!quickly!we!can!access!information!via!the! web.!Using!our!minds,!we!can!be!in!any!place!on!Earth!just!by!looking!into!the!digital! realm.!This!impacts!my!work!as!an!artist:!I!believe!that!it!is!my!artistic!responsibility!to! take!a!position!as!a!means!of!filtering!through!a!mass!of!available!information,!also! helping!to!guide!through!misleading!content!that!is!often!quoted!by!the!media!regarding! radioactive!contamination.!Even!if!visual!art!cannot!easily!change!the!troublesome! conditions!that!we!inhabit!today,!communication!is!still!key,!and!can!at!least!raise! awareness.! In!the!Spatial!Paintings!I!aim!to!fuse!my!particular!subject!matter!with!the!formal!aspect! of!the!work,!and!thus,!to!let!the!materiality!of!the!work!speak.!The!forms!and!materials! need!to!generate!their!own!presence.!If!the!painterly!quality!of!my!materials!did!not! hold!this!importance!for!me,!one!could!use!a!different!medium,!for!example!language!or! film.!Nonetheless,!my!work!seeks!to!go!beyond!the!formal!aspects!of!paint!and!its! materiality.! Concerning!the!content!of!my!painting!I!am!striving!for!clarity.!I!push!the!medium!to! create!the!highest!presence!and!tension!in!relation!to!the!content.!To!describe!my! interlocking!process!Louisa!Elderton!writes!in!her!essay!Outdated!System:!‘!Spatial! Paintings!transfer!the!emotions!of!this!subject!into!space!–!the!notion!of!fear!or!loss!of! balance,!where!you’re!not!sure!which!way!is!up!and!which!is!down,!where!the!top!or! bottom!lie.’!175! Throughout!my!research!I!have!created!18!Spatial!Paintings,!which!take!over!walls,! spaces!and!environments,!as!well!as!46!paintings!on!canvas!and!innumerable!works!on! paper.!Together,!these!detail!key!discoveries!and!turning!points!in!my!practice.!For!the! spatial!painting!blender,!2013!(discussed!in!depth!in!Chapter!1!of!this!thesis,!Fig.12,! p.25)!I!combined!a!narrative!from!the!graphic!novel!Murphy!the!mutant!with!a!largeR scale!wallRfloorRceiling!painting,!aiming!to!communicate!today’s!radioactive! contamination!through!military!use!of!depleted!uranium!munitions!–!a!war!crime,!which! is!an!issue!that!is!discussed!too!little.!This!first!experiment!opened!a!whole!new!horizon! for!my!work;!it!pushed!my!practice!of!extending!the!borders!of!a!painting!beyond!the! conventional!rectangular!canvas.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 175!Louisa!Elderton,!Outdates!System!(Wollongong:!Wollongong!Art!Gallery,!2017)!p.!4.! ! 136 My!investigations!into!the!perspectives!used!in!preRRenaissance!Byzantine!frescoes! allowed!me!to!question!central!perspective!and!delve!into!a!search!for!a!painting!style! that!reflects!the!meaning!I!intended!to!communicate.!The!reverse!perspective!used!in! icons!transmits!a!timeless!moment!that!creates!a!transcendental!atmosphere.!For!me,! Florensky’s!writing!supported!my!exploration!into!how!perspective!can!be!used!in! painting!to!implicate!and!include!the!observer.!Ultimately,!it!is!my!subject!matter!that! defines!the!type!of!atmosphere!that!I!want!to!create!for!the!viewer.!! Though!trail!and!error,!I!discovered!that!using!central!perspective!produces!an! atmosphere!that!is!not!of!interest!to!me!in!terms!of!my!practice.!As!such,!I!experimented! with!reverse,!or!inverse,!and!parallel!perspectives,!which!I!used!on!walls!and!canvasses.! Moreover,!I!diverged!from!using!central!perspective!and!developed!my!own,!which! became!a!tool!to!change!the!experience!and!atmosphere!of!a!location.!! In!the!Spatial!Painting!mutating!tomatoes!(2013,!Fig.!21,!p.!32)!I!successfully!‘flattened’! the!space!with!an!explosive!twoRdimensional!composition!overriding!the!threeR dimensional!interior.!The!space!optically!distorts.!As!such,!this!became!my!approach!for! all!paintings.!My!process!involves!me!sketching!out!the!composition!using!small! watercolour!paintings,!which!I!then!transfer!into!the!exhibition!space!as!large!wall! panting!or,!indeed,!onto!canvas.! ! Fig.!136:!mutating!tomatoes,!2013,!left!side!view! Some!paintings!on!canvas!strongly!implement!reverse!perspective,!for!example!mutant! 2!and!deer!(both!2014,!Fig.!10,!p.!22!and!Fig.!37,!p.40),!black!and!white!(2015,!Fig.!92,! p.91),!9!out!of!10,!in!God’s!name,!another!gift,!seventy!years,!cloud!and!Buechel!(all!2016,! Fig.!99R102,!p.!101R102!and!Fig.!61R62,!p.!64R65).!I!continuously!trained!myself!and! envisioned!how!to!complicate!the!surface!of!the!painting!through!forging!new! perspectival!dynamics.!The!painting!black!swan!(2017,!Fig.!18,!p.!29)!is!my!attempt!to! ! 137 bridge!painting!on!walls!with!paintings!on!canvas;!I!use!reverse!perspective!to!reach!the! desired!dynamic.!! In!Spatial!Paintings!such!as!omen!(2013,!Fig.!14,!p.!26),!I!investigated!the!possibilities!of! negative!shapes!and!empty!voids!and!found!that!the!former!could!be!used!as!a!visual! metaphor!for!radiationRemitting!substances.!I!aimed!for!a!notion!of!what!I!term! ‘infiltration’!–!something!that!is!invisible!and!yet!detrimentally!mutates!objects!and! creatures.!The!technique!of!using!unpainted!biomorphic!shapes!in!my!paintings!allowed! me!to!formulate!what!could!be!read!as!infiltration!and!deterioration.!! With!my!paintings,!I!wanted!to!visualise!and!actively!depict!the!uncertainty!and!danger! of!invisible!radiation.!I!needed!to!find!a!material!that!was!adequate!to!create!a!distorted! image,!and!yet!would!not!necessarily!undermine!the!formalist!tradition!of!painting.!The! use!of!sheet!aluminium!in!my!work!enhances!the!feeling!that!the!space!is!distorting.!The! Spatial!Painting!inquisition!(2016,!Fig.!73,!p.!76)!demonstrated!the!various!capabilities! of!this!material.!Aluminium!distorts!forms!in!ambiguous!ways,!and!placing!the!sheets!to! reflect!colour!distorts!the!space!further.!To!enable!the!aluminium!to!homogeneously! melt!with!the!canvases!painted!composition,!I!added!leaf!aluminium!to!my!pallet.! Through!this!research,!I!defined!and!enhanced!the!Mutative!Perspective!and!SiteR mutative!Paintings.!! During!this!process,!I!realized!that!SiteRmutative!Painting!actively!changes!the!space!in! which!my!work!is!painted,!and!inevitably!integrates!it!into!the!work.!The!Mutated! Perspective!alters!the!experience!of!the!surrounding!and,!as!such,!impacts!the!viewer.! The!colours!and!high!energy!of!the!Spatial!Paintings!can!be!perceived!as!beautiful,!but!at! a!later!moment!the!painting!will!reveal!its!disturbing!content.!To!avoid!my!paintings! being!read!as!simple!formal!experiments!or!visual!entertainment,!I!felt!that!I!needed!to! solve!the!question!of!how!to!ensure!that!my!paintings!communicated!my!concerns!about! invisible!radioactive!contamination.176!As!such,!in!ongoing!watercolour!paintings!I! formulated!compositions!that!are!defined!by!distortion,!ambiguity,!imbalance!and! deterioration.!The!upRscaled!painting!in!the!actual!space!subsequently!leads!to!a!notion! and!feeling!of!instability.!Inquisition!(2016)!was!my!first!Spatial!Painting!to!essentially! activate!the!walls!optically,!whilst!devolution!(2017,!Fig.!1,!p.!5)!seems!to!actively!tear! the!space!apart.!! My!solution!to!the!problem!of!transmitting!a!clear!message!was!to!add!narrative!to!the! biomorphic!abstract!paintings!in!form!of!text.!In!2015,!I!began!including!within!the! paintings!short!texts,!commentaries!and!web!links!that!led!to!information!about!my! subject!matter.!My!paintings!initially!have!an!emotional!affect.!In!Chapter!4!I!discussed! Susan!Best’s!analyses!of!emotional!qualities!in!art,!their!consequences!and!value,!and! how!such!‘affectiveness’!is!important!for!my!abstract!painting.!The!texts!that!I!insert!into! the!paintings!lead!to!additional!precise!information,!which!resonates!beyond!immediate! affect.!People!have!the!option!to!follow!this!information.!In!this!way,!facts!get!dispersed! both!emotionally!and!intellectually.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 176!David!Neuman!and!Bo!Nilsson,!Preface!of!Painting!–!the!extended!field!(Stockholm,!Sweden,!Magasin!3! Stockholm!Konsthall!and!Rooseum!–!Center!for!Contemporary!Art,!1993)! ! 138 ! Fig.!137:!devolution,!detail,!2017! The!Spatial!Painting!devolution!(2017)!completed!my!research!regarding!Mutative! Perspective!and!SiteRmutative!Painting.!I!undertook!extra!investigation!regarding!the! shapes!of!my!canvasses.!I!developed!oval!shaped!painting!supports.!In!Chapter!3,!I! elaborate!about!this!unusual!shape!as!a!painting!support,!how!I!came!to!this!particular! form,!my!decision!for!which!material!to!use,!what!it!achieves!for!the!painting!and!the! great!results!when!integrated!into!my!Spatial!Paintings.!! The!oviform!canvasses!are!narrower!at!one!end,!so!the!shape!itself!is!spatial!and! contains!reverse!perspective!–!the!larger!end!will!always!optically!come!towards!the! observer.!The!oviforms!nearly!melt!into!the!overall!composition!of!the!work.!!The! Spatial!Painting!future!told!me!she!has!a!headache!(2017,!Fig.!128,!p.!126),!involution!and! Radiation!scape,!(both!2018,!Fig.!87,!p.!86!and!Fig.!103,!p.!104),!include!oviform! canvasses!within!the!wallRfloor!paintings.!As!the!onlooker!moves!around!the!space,!the! oviform!paintings!grow!from!round!to!oval!and!fuse!like!a!dense!layer!of!paint!into!the! painted!environment.!! The!Spatial!Painting!sea!of!lies!(2018,!Fig.!110,!p.!111),!amplifies!the!use!of!reverse! perspective!through!a!continuous!unpainted!shape!in!the!middle!of!the!painting.!Parallel! to!the!text!parts,!which!here!are!cut!into!the!aluminium!as!negative!letters,!the!painted! shapes!can!be!decoded.!!The!visuals!that!unfold!over!time!and!carry!meaning:!the! central!shape,!for!example,!resembles!the!cloud!of!a!depleted!uranium!nuclear! explosion;!the!texts!relate!to!and!explain!the!forms.! My!final!presentation!to!conclude!my!PhD!is!the!Spatial!Painting!mutopia!(‘Mu’!from! ‘Mutation’!and!‘topia’!from!‘Utopia’,!Fig.!144,!p.!143).!Formally,!all!elements!are! combined:!text,!oviform!canvasses,!painted!capsules,!aluminium!and!negative!shapes.!As! an!index!for!the!ideal,!the!unknown!and!the!grotesque,!I!add!leaf!gold!to!my!material!list! for!the!first!time.!Thematically,!this!work!deals!with!imaginary!notions!of!how! ! 139 radioactive!contaminated!regions!on!Earth!could!evolve!in!the!future.!Such!work!could! be!related!to!utopian!subject!matters,!but!here!I!refer!back!to!the!term!‘postRnature’!that! was!discussed!in!Chapter!1.!Fredric!Jameson!writes:!! ….the!privileged!class!of!First!World!society!(and!the!consumers!of! postmodernisms)!run!the!risk!of!forgetting!their!memory!–!historically!as!well!as! existential!–!in!a!“new”!space!from!which!older!forms!of!place!have! disappeared….!.!Memory!now,!as!Ballard!suggests,!becomes!memory!of!the! future!(and!of!a!dystopian!breakdown!future!at!that);!nostalgia!now!attaches!to! the!present!itself,!as!a!lost!object!and!experience…177! Jameson’s!idea!is!that!utopia!is!not!relating!to!the!future!anymore!and!is,!rather,!a!term! of!the!past.!The!‘new!space’!–!as!he!calls!today’s!environment!–!has!rendered!utopian!as! antiquated.!If!I!imagine!the!future,!I!look!for!hope!and!absurd!unexpected!outcomes!that! could!result!from!the!‘mutating!utopia’,!as!expressed!in!my!story!Murphy!the!mutant.!!! ! Fig.!138:!humanitarian!intervention,!2019,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!40!x!50!cm! Louisa!Elderton’s!writing!about!my!work!conflates!landscape!and!painting!and,!at!the! same!time,!the!figural!and!abstract!forms!in!my!paintings:!! Envisage!yourself!walking!with!me;!visualize!these!shades!spreading,!becoming! larger!and!braver.!Petals!turn!into!nonconcrete!forms,!once!recognizable!but! now!something!altogether!different.!An!abandoned!airplane’s!oviform!body!is! discernable!in!the!distance.!We’re!walking!in!space,!but!everything!around!us!is! flat!form!and!pure!pigment,!a!figurative!world!blown!up!into!the!abstract.!178!! This!quote!describes!precisely!the!interaction!between!the!world!I!see!and!the!one!I! imagine.!The!landscapes!I!paint!could!be!easily!recognized!as!postFnature!–!a!natural! condition!that!is!mutated!and!altered!by!nuclear!contamination.!With!my!painting!I! came!to!distort!and!dissolve!ideas!of!landscapes!that!are!interspersed!by!negative! shapes!and!abstract!forms.!! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 177!Fredric!Jameson,!’Postmodernism!and!Utopia’!in!Utopia!Post!Utopia:!Configurations!of!Nature!and!Culture! in!Recent!Scuplture!and!Photography!(Boston:!The!Institute!of!Contempoarary!Art,!and!Camebridge:!The! MIT!Press,!1988),!p.!14.!! 178!Louisa!Elderton,!Outdates!System!(Wollongong:!Wollongong!Art!Gallery,!2017),!p.!3.! ! 140 I!summarize:!my!aims!have!been!to!merge!two!and!threeRdimensional!painting!to! generate!a!total!environment,!extending!my!work!into!a!whole!space,!overwriting!the! existing!parameters!of!architecture!to!bestow!new!meaning.!My!parallel!aim!has!been!to! make!the!content!of!my!work!clearly!transmittable,!and!to!have!the!subject!matter!guide! my!abstract!painting!language!to!a!point!where!the!formal!aspects!encapsulate!the! meaning!visually!—!of!invisible!radiation!that!mutates!forms!and!spreads!through!space.! I!outline!that!in!my!art!I!deal!with!the!contents!that!the!use!of!depleted!uranium! munitions!is!a!war!crime.!This!war!crime!has!been!happening!since!the!first!Gulf!war!in! 1990!and!it!is!proved!that!these!munitions!cause!irreversible!radioactive!pollution.!The! use!of!these!armaments!leads!to!severe!deformations,!cancer,!and!death!and!continues! to!do!so!a!long!time!after!the!war.!The!radioactive!particles!have!a!halfRlife!of!4.5!billion! years.!When!ingested!or!inhaled!these!particles!change!DNA,!and!in!this!way!remain!to! affect!populations!for!generations.!Affected!communities!call!the!use!of!depleted! uranium!munitions!a!silent!genocide.!Whilst!the!general!motivation!in!my!painting!is! driven!by!environmental!observation!I!see!it!as!necessary!to!continue!working!with!the! subject!concerning!the!abuse!of!depleted!uranium!munitions!till!this!radioactive!weapon! is!prohibited!worldwide.! My!key!discovery!as!the!result!of!my!PhD!research!has!been!the!development!of!Spatial! Painting,!the!Mutated!Perspective!and!SiteRmutative!Painting.!These!enabled!me!to!paint! ‘infiltration’,!distortion,!deterioration!and!the!sense!of!something!dissolving!–!things! that!suggest!for!me!nuclear!contamination,!which!I!deem!to!be!a!sign!of!our!time.!To! paint!these!notions,!I!used!the!materials!sheet!aluminium,!leaf!aluminium!and!gold,!as! well!as!various!pigments!for!my!work.!I!also!changed!the!form!of!my!canvasses!to! include!oviforms.!! Ultimately,!I!am!now!able!to!paint!and!communicate!a!narrative!about!the!abuse!of! depleted!uranium!munitions.!My!style!merges!direct!communication!with!emotional! affect.!This!project!has!led!me!to!develop!a!complex!painting!language,!one!with!a!form! that!communicates!visually!by!distorting!architectural!space.!I!am!able!to!alter!the!space! by!combining!colour!and!aluminium,!and!in!this!way,!I!create!forms!that!shift!the! viewer’s!perspective,!resulting!in!a!particular!affect!that!gives!meaning!to!my! environment.! !!!!!!! ! Fig.!139:!mutopia!1,!2019,!gold!leaf,!egg!tempera!and!oil!on!canvas,!80!x!95!cm!and!80!x!80!cm! Fig.!140:!mutopia!2,!2019,!gold!leaf,!egg!tempera!and!oil!on!canvas,!80!x!95!cm!and!80!x!80!cm! ! 141 ! Fig.!141:!exhibition!view!mutative!painting,!2018,!Kunstverein!Duisburg! ! ! Fig.!142:!exhibition!view!mutative!painting,!2018,!Kunstverein!Duisburg! ! ! 142 ! Fig.!143:!threshold,!2019,!gold!leaf,!egg!tempera!and!oil!on!canvas,!oviform!250!x!150!cm! ! 143 ' Fig.!144:!mutopia!1,!2019,!gold%leaf,%PVC%aluminium,"MDM"binder"and"egg"tempera"on"wall"and"floor,"600"x" 900#x#600"cm,"SOAD%Gallery%ANU,%Canberra,%Australia! ! Fig.!145:!mutopia!1,!detail! ! ! 144 ' Fig.!146:!mutopia!2,!2019,!gold#leaf,#aluminium,"pigments"and#MDM#binder#on#wall#and#ceiling,!330!x!1180!x! 330!cm,"Art$in$Buildings,$310!W.#space,#Milwaukee,#USA! ! Fig.!147:!mutopia!2,!detail! ! ! 145 !Fig.!148:!mutopia!2,!detail! ! ! ! ! ! ! ! ! ! ! ! Fig.!149:!Exhibition!view!3!Haeuser!Kunst!Pfad!2019,!Daun,!Eifel,!Germany! Right!side:!Milovan!Destil!Markovic,!Lipstick!and!Lapislazuli!Aureole!! Left!side:!Claudia!Chaseling,!threshold! ! ! ! ! ! ! ! ! 146 ! Fig.!150:!orange!mutant,!2012,!water!colour,!pencils,!egg!tempera!and!oil!on!paper!and!wood! invented!mutants:!clay.!300!x!280!x!250!cm! ! ! 147 REFERENCES' ! Bibliography' ! Ackermann,!Franz.!“Walking!South”.!Faena!Art!Center,!Buenos!Aires,!2013.!Accessed! February!2018!and!January!2019.!! http://www.faena.com/faenaRartRcenter/es/exhibitions/franzRackermann! ! Apollinaire,!Guillaume.!Tendre!comme!le!souvenir.!Paris:!Gallimard,!2005.!! ! Barcio,!Phillip.!“The!Role!Of!Biomorphic!Shapes!In!Abstract!Art.”!Idealart!Magazine.! Accessed!February!4,!2018.!! http://www.ideelart.com/module/csblog/post/290R1Rbiomorphism.html! ! Barr,!Alfred!H.!“Cubism!and!Abstract!Art”,!1936.!Museum!of!Modern!Art,!New!York.! Accessed!February!4,!2018.!https://www.moma.org/calendar/exhibitions/2748!' ! 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Serbia:!High!Incidence!of!Cancer.”!Global!Research.!Accessed!November!20,!2015.! ! 155 http://www.globalresearch.ca/depletedRuraniumRradiationRresultingRfromRnatoR bombingsRinRserbiaRhighRincidenceRofRcancer/18432!! ! Wagner,!Frieder.!“Deadly!Dust!–!Depleted!Uranium.”!Documentary,!1:32:27,!2007.! Accessed!January!28,!2019.!! https://www.youtube.com/watch?v=djv8UyrrC34! https://www.youtube.com/watch?v=GTRaf23TCUI! ! Wikileaks.!“Depleted!uranium!detection!at!range!prompts!convoking!of!ambassador”.! Accessed!September!18,!2015.!! https://www.wikileaks.org/plusd/cables/09KUWAIT180_a.html! ! Wikipedia.!“Donald!Judd.”!Accessed!April!5,!2013.! http://en.wikipedia.org/wiki/Donald_Judd! ! Wikipedia.!“Destroyed!Serbian!heritage!in!Kosovo.”!Accessed!February!17,!2017.! https://en.wikipedia.org/wiki/Destroyed_Serbian_heritage_in_Kosovo! ! ! ! ! 156 List'of'Illustrations' ! If!not!otherwise!indicated,!photos!are!by!Studio!Claudia!Chaseling!and!Studio!Milovan!Destil!Markovic! Fig!1:!devolution,!2017,!ink,!aluminium!and!egg!tempera!on!wall,!floor!and!ceiling,!325! cm!x!665!cm!x!450!cm,!siteFmutative!painting,!Magic!Beans!Gallery,!Berlin,!Germany,!p.!5! INTRODUCTION' Fig.!2:!Aporie,!2007,!egg!tempera!and!oil!on!canvas,!200!cm!x!400!cm,!p.!9! Fig.!3:!beetle!1,!2013,!egg!tempera!and!oil!on!canvas,!40!cm!x!40!cm,!p.!9! Fig.!4:!my!book,!2016,!p.!10! Fig.!5:!symbiosis!was!long!ago,!2012,!egg!tempera!and!oil!on!wall,!floor,!canvas!and! concrete!objects,!350!x!600!x!600!cm,!in!public!car!park,!photo:!Bernd!Borchardt,!p.!12! Fig.!6:!Hermann!Nitsch,!Malaktion!Wiener!Secession!1987,!photo:!Liesl!Biber,!p.!15! CHAPTER'ONE' Fig.!7:!9!out!of!10,!2016,!aluminium,!egg!tempera!and!oil!on!wall,!floor!and!canvas,!330!x! 400!x!340!cm,!p.!19! Fig.!8!and!9:!Murphy!the!mutant,!page!1!and!2!of!66,!2013,!watercolour!and!pens!on! paper,!15!x!21!cm,!p.!20! Fig.!10:!mutant!2,!2014,!egg!tempera!and!oil!on!canvas,!264!x!143!cm,!p.!22! Fig:!11:!Murphy!the!mutant,!2013,!Video,!14!minutes,!p.!23! Fig.!12:!blender,!2013,!egg!tempera!and!video!monitors!on!wall!and!floor,!XRBorder! Biennial,!Museum!Valo,!Rovaniemi,!Finland,!p.!24! Fig.%13:"blender,"detail,"p."25! Fig.%14:"omen,"2014,"aluminium"and"egg"tempera"on"wall,"floor"and"ceiling"400"x"700"x" 300#cm,#p."26! Fig.%15:"omen,"left%side%view,%photo:%Manfred%Haug,%p.%27! Fig.%16:"Hadzici,"aluminium,"egg"tempera"and"oil"on"canvas,"140"x"140"cm,"p."27! Fig.!17:"this%is%all,"2013,"egg"tempera"and"oil"on"canvas,"250"x"170"x"320"cm,"p."28! Fig.%18:!black&swan,"2017,&aluminium,(egg!tempera'and'oil'on'canvas,'250'x!170$x$220$ cm,$p.$29! Fig.%19:"omen%draft,'2014,'watercolours'and'pencils'on'paper,'42'x'59'cm,'p.'30! Fig.%20:"setting"up"omen,"2014,"68"projects,!Berlin,(photo:&Klaudia&Stoll,&p.#31! ! 157 Fig.%21:"mutating(tomatoes,"2013,"aluminium,"egg"tempera"and"oil"on"wall,"floor%and% canvas,'350'x'400'x'500'cm,"p.!32! Fig.!22:!mutating!tomatoes!draft,!2013,!watercolour!and!pencil!on!paper,!17!x!24!cm,!! p.!33! Fig.%23:"time%machine,"2012,"egg"tempera"and"oil"on"wall,"floor"and"canvas,&350&x&220&x& 1000#cm,#p.#33! Fig.%24:"time%machine!draft,"2012,"watercolour&and&pencil%on%paper,%20%x%20%cm,%p.%34! Fig.%25:"Studenica"Monastery"(Twelfth#Century),#Serbia,#2015,#p.#35! Fig.%26%R!34:"drawings"made"whilst"my"field"trip"to:"Arilje!Monastery,+Decani'Monastery,+ Patriarch(of(Pec!Monastery,+Ravanica!Monastery*and!Zica!Monastery*in"Serbia"and" Kosovo,&2015,&p.&36&R!37! Fig.%35:"Decani!Monastery,+Kosovo,+narrative+style+of#painting#frescos,#p.#38! Fig.%36:"Arilje!Monastery,+Serbia,+fresco+painted+with!reverse%perspective,%p.%38! Fig.%37:"deer,"2014,"egg#tempera#and#oil#on#canvas,#265#x#143#cm,#p.!40! Fig.%38:"my"sketchbook"from"1999"with%photos%from%Yirrkala,%p.%41!!! Fig.%39:"my"sketchbook"from"1999,"comparing"icons"with"cross"hatched"bark"paintings," p.#41! Fig.%40:"grid%2,"2006,"egg"tempera"and"oil"on"canvas,'175#x#175#cm,#p.#42! Fig.%41:"canola&1,"2013,"egg"tempera"and"oil"on"canvas,"200"x"450"cm,"photo:"Manfred" Haug,&p.&43! Fig.%42:"Arco,"Renate"Anger,"Gallery"AT,"Poznan"Poland,"2008m"p."43!! Fig.%43:"beetle%2,"2014,&egg&tempera&and&oil&on&canvas,&140&x&140$cm,$p."45! Fig.%44:%infiltration,"2012,"ink,"egg"tempera"and"oil"on"wall,"floor,"canvas"and"paper,&350&x& 600#x#450#cm,#p.#46! Fig.%45:"Round&up&cloud&in&valley,"2016,!collaboration*with*artist*Milovan*Destil*Markovic,(( aluminium'and'egg'tempera!on#wall#and#floor,&350&x&500&x&300&cm,&p.&48! Fig.%46:!carousel,!2014,&&aluminium,&egg&tempera&and&oil&on&wall,&floor&and&canvas,&340&x& 335#x#580#cm,#p.#49! Fig.!47:!painting!Milori!blue!dot,!2014,!Metropolitan!Avenue,!Brooklyn,!New!York!City,!! p.#51! Fig.%48:"Milori&blue%dot,"2014,"Metropolitan"Avenue,"Brooklyn,"New"York"City,"p."51! ! ! ! 158 CHAPTER(TWO' Fig.%49:"fish,"2013,"aluminium,"egg"tempera"and"oil"on"wall,#floor#and#canvas,#200#x#220#x# 250$cm,$p.$52! Fig.%50:"it#goes#deeper,"2012,"egg"tempera"and"oil$on$wall,$floor,$ceiling,&canvas!and$ concrete,(350!x"300!x"550!cm,$p.$53! Fig.!51:!metal!2,!2015,!egg!tempera!and!oil!on!canvas,!100!x!120!cm,!p.!55! ! Fig.!52:!fish,!2013,!aluminium,!egg!tempera!and!oil!on!canvas,!120!x!120!cm,!p.!55! ! Fig.%53%and%54:"tardigrade(2!and$metal&1,"2015,&egg&tempera&and&oil&on"canvas,"each"40"x" 40#cm,#p.#56! Fig.%55:!Ravanica'Monastery,+Serbia,+fourteenth+century+frescos,+p.+57! Fig.%56:"tardigrade(1,"2013,"egg!tempera'and'oil'on'canvas,'80'x'80'cm,'p.'59! Fig.%57:"Andrei"Rublev,"Holy%Trinity,"around"1411,#p.#60! Fig.%58:"Murphy'and'other'mutants,"2013,"aluminium,(ink,(egg(tempera(and(oil(on(wall,( floor,&ceiling,&paper&and&concrete,&290&x&360&x&240&cm,&p.&61! Fig.%59:"Vladimir"Tattlin,"corner&relief,"1914,%p.%62!!! Fig.%60:"trout,"2013,"egg"tempera"and"oil"on#canvas,#110!x"110"cm,"p."64! Fig.%61:"cloud,"2016,"aluminium,"egg"tempera"and"oil"on"canvas,"213"x"170"cm,"p."64! Fig.%62:"Buechel,"2016,"egg"tempera"and"oil"on"canvas,"213"x"170"cm,"p."65! Fig.%63:"Donald"Judd,"100#Aluminium#Boxes,"installaed"in"Marfa,"Texas,%photographed" 2010,%p.%66! Fig.%64:"Bars,&Strelka&and&Anita,&2013,"egg#tempera#and#oil#on#concrete,#165#x#45#cm# diameter,!3"Haeuser'Kunst'Pfad,"Eifel,"Germany,"p."68! Fig.%65:!Elizabeth*Murray,*MOMA*New*York*City,*photographed*2018,"p."70! ! CHAPTER'THREE' ! Fig.%66%and%67:"the$shadow$of$things$go$further$than$one$can$see$with$eyes$and!testing'the' future,"2015,"watercolour&and&pencils!on#paper,#each#38#x#24#cm#p.#71! Fig.%68:"blender,!detail,(p.!72! Fig.%69:"Murphy'and'other'mutants,"2013,"aluminium,"egg"tempera"and"oil"on"wall,"floor,% paper%and%concrete,%p.73! Fig.%70:"cloud,"2014,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas,"Mural& Projects,*Volta#10,#Basel,#p.#74! ! 159 Fig.%71:!cloud,"detail,"with"painting"on"canvas"mutant&1,"2013,"egg"tempera"and"oil"on! canvas,'150'x"150cm,"p."75! Fig.%72:%inquisition,!detail,(2016,"ink,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and" canvas,'p.'75! Fig.%73:"inquisition,"2016,"ink,"aluminium,(egg(tempera(and(oil(on(wall,(floor(and(canvas,( 290$x$800$x$310$cm,$Galerie$Dirk!Halverscheid,-Munich,&photo:&Beate&Winter,&p.&76! Fig.%74:"inquisition,"detail,"p.!77! Fig.!75:!another!gift!1,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!oviform!56!x! 40!cm,!p.!78! ! Fig.!76:!another!gift!2,!2018,!leaf!aluminium,!egg!tempera!and!oil!on!canvas,!oviform!52!x! 38!cm,!p.!78! ! Fig.%77:"future&told&me&she&has&a&head&ache,"2017,"leaf"aluminium,(egg(tempera(and(oil(on( wall,%floor%and%canvas,%270%x%350%x%500%cm,%Art%Omi%International%Artists%Residency,% Ghent,'New'York,%photo:%Anna%Bee,%p.%78! Fig.$78:"future&told&me&she&has&a&head&ache,"detail:"three"oviform"paintings"on"canvas," photo:&Anna&Bee,&p.#79! Fig.%79:"involution,"detail:"silent'chain'1,"2018,"leaf"aluminium,"egg"tempera"and"oil"on" oviform'canvas,'photo:'Aimee'Crouch,'p.!80! Fig.%80:"involution,"detail:"silent'chain'1,"2018,"leaf"aluminium,"egg"tempera"and"oil"on" oviform'canvas,"p."80! Fig.%81:%silent'chain'1,"2018,"leaf"aluminium,"egg"tempera"and"oil"on"canvas,"oviform"200! x"120!cm,$p.$81! Fig.%82:"silent,"2017,"PVC"silver"foil"and"egg"tempera$on$wall$and$floor,$370$x$550$x$550$ cm,!Wollongong&Art&Gallery,&NSW,"p."82! Fig.%83:"silent,"detail,"p."83! Fig.%84:"silent,"detail,"p."83! Fig.%85:"carousel,"detail,"p.!85! Fig.%86:"dog,"2015,"egg"tempera"and"oil"on"canvas,"150"x"150"cm,"p."85! Fig.%87:"involution,"2018,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas,"260"x" 400#x#800#cm,!siteFmutative(painting,"Yuill"Crolwey"Gallery,"Sydney,"p."86! Fig.%88:"involution,"2018,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas,"260"x" 400#x#800#cm,#siteFmutative(painting,"Yuill"Crolwey"Gallery,"Sydney,"p."86! Fig.%89:"Milovan"Destil"Markovic,"Fragments*of*a*Painting,"1982,"Student"Culture"Center," Belgrade,)Yugoslavia,"p."87! ! 160 Fig.%90:"Franz"Ackemannm,"2016,"MexicoRNon$Stop$from$here,!Mounted!paper,!photos,! oil,!acrylics,!mixed!media,!150!x!170!cm,"p."88! Fig.%91:%Milovan%Destil%Markovic,%Prototype!Sarajevo,"Performance!Mother'Tongue,"1998," YUDOK,'Skenderija,'Sarajevo,'Yugoslavia,'p.'90! Fig.%92:"black&and&white,"2015,"egg"tempera"and"oil"on"canvas,"145"x"145"cm,"p."91! Fig.%93:"Milovan"Destil"Markovic,"Prototype(New(York,!1991,$MOMA$PS1,#New#York#City,"p." 92! Fig.%94:"Milovan"Destil"Markovic,"Bank%Me%Now!,%2016,&enamel,'pigments'and'MDM' binder'on'canvas,'85#x#250#cm,"p."94! Fig.%95:"Milovan"Destil"Markovic,!Gate%of%Harmony,"1986,#Aperto!'86,%42nd%Venice% Biennial,(p.(95! Fig.%96:"Michel"Majerus,!Leuchtland,"2002,"Friedrich"Petzel"Gallery,"New"York"City,"p."97!! Fig.%97:"countdown,"2016,"egg"tempera"and"oil"on"canvas,"46"x"58"cm,"p."99! Fig.%98:"akimbo,"2015,"egg!tempera'and'oil'on'canvas,'150'x'150'cm,"p."100! CHAPTER'FOUR' Fig.%99%and%100:"another(gift(and!in#God's#name,"2016,"egg"tempera"and"oil"on"canvas," each%300%x%120%cm,"p."101! Fig.%101%and%102:"9"out"of"10"and!seventy'years,"2016,"egg"tempera"and"oil"on"canvas,$ each%300%x%120%cm,"p."102! Fig.!103:"Radiationscape,"2018,"aluminium,"egg"tempera"and"oil"on"wall,"floor"and"canvas," 360$x$1000$x$250$cm,!Art$in$Buildings$55$5th$Avenue$space$(Union$Square),$New$York$ City,&photo:&Sol&Hashemi,"p."104! Fig.!104:!Radiationscape!draft,!2018,!watercolour!and!pencils!on!paper,!42!x!59!cm,!! p.#104! Fig.!105:"Radiationscape,"2018,"left"side"view,"photo:&Sol&Hashemi,"p."105! Fig.%106:"Radiationscape,"2018,"right"side"view,"photo:&Sol&Hashemi,"p."105! Fig.%107:"Coding'the'Earth!R!The$Darker&the&Night&the&Brighter&the$Stars,"collaboration! with!Milovan!Destil!Markovic,!polycarbonate,!pigments,!MDM!binder,!leaf!aluminium,! concrete,!wood!and!solar!lights,!300!cm!x!500!cm!x!300!cm,!Lorne!Biennale,!Victoria,!! p.!107! Fig.%108%and%109:"yesterday(is(tomorrow,"2018,"aluminium,(egg(tempera(and(oil(on(wall,( floor%and%canvas,%500#x"250"x"200"cm,"Station'Paradox,"Momentum"Berlin,"p."108! Fig.%110:"sea$of$lies,"2018,"aluminium,"egg"tempera"on"wall"and"floor,"300"x"850"x"550"cm," mutative!painting,"Kunstverein"Duisburg,"p."111!! ! 161 Fig.%111:"sea$of$lies,"2018,"left"side"view,"p."112! Fig.%112:"sea$of$lies,"2018,"right"side"view,"p."112! Fig.%113:"eX"de"Medici,"The$theory$of$everything,$2005,%watercolour&and&metallic&paint&on& Arches,(114#x#176#cm,#photo:!RLDI,&p.&114! Fig.%114:%eX#de#Medici,#I"killed"her"with"my"club,"2017,"watercolour&and&egg#tempera&on& paper,"114#x#345#cm,#photo:!RLDI,&p.&115! Fig.%115:"mutative(perspective(painting,"2014,"68#projects,#Berlin,"photo:"Manfred"Haug," p.#115!! Fig.!116:"silent'chain'2,'2018,&leaf%aluminium,%egg%tempera%and%oil%on%canvas,%oviform' 200#x#120#cm,"p."117! Fig.!117:"end$of$story$F!we#use#it,#2018,&leaf%aluminium,%egg%tempera%and%oil%on%canvas," oviform'150'x'100'cm,"p."118! Fig.%118:"a"sense"of....,"2017,"pencils(and(paint(markers(on(postcard,(10(x(15(cm,"p."118! Fig.%119%and%120:"all#quiet#here#and$targets,"2015,$watercolour$and$pencil$on$paper,$each$ 24#x#38#cm,"p."119! Fig.%121:"seventy'years,"2015,"watercolour"and"pencil"on"paper,"24"x"38"cm,"p."120! Fig.%122:"sea$of$lies,"detail,"p."120! Fig.%123:"9"out"of"10,"detail,"2016,"p."121! Fig.%124:"involution,"2018,"leaf#aluminium,#egg#tempera#and#oil#on#canvas,#140#x#140#cm," p.#123! Fig.%125:"Milovan"Destil"Markovic,"Inquisition,"2018,&gold%leaf,%pigments%and%MDM%binder% on#canvas,#250$x$450"cm,"p."124! Fig.%126:"past%is%past%and%always%present,%2017,&leaf&aluminium,&egg&tempera'and'oil'on' canvas,!oviform'150'x'100'cm,"p."125! Fig.%127:"due$to$the$heat1,$2017,&leaf&aluminium,&egg&tempera&and&oil&on&canvas,!oviform' 150$x$100$cm,"p."125! Fig.%128:"future&told&me&she&has&a&head&ache,&2017,&leaf%aluminium,%egg%tempera%and%oil% on!canvas,!oviform'150'x'100'cm,"p."126! Fig.$129:"Gladys,(2018,&leaf&aluminium,&egg&tempera&and&oil&on&concrete,&130&x&40&cm& diameter,"in#the#background!Esmeralda!and$Albert'2,"p.!128! Fig.%130:!Coding'the'Earth,"collaboration!with!artist!Milovan!Destil! Markovic,!polycarbonate,!pigments,!MDM!binder,!leaf!aluminium,!concrete,!wood!and! solar!lights,!300!cm!x!500!cm!x!300!cm,!Lorne!Biennale,!Victoria,!p.!128! Fig.%131:$inquisition,"detail,!2016,"p."130! ! 162 Fig.%132:"devolution!(it's&really¬!rocket'science),'2017,'aluminium,'egg'tempera'and'oil' on#canvas,#110#x#110#cm,"p."131! Fig.%133:"streaming*both*ways,*2019,&leaf&aluminium,&egg&tempera&and&oil&on&canvas,&160& x"210"cm,"p."132! CONCLUSION' ! Fig.!134:"Radiationscape,"detail,"2018,"p."133! Fig.%135:"due$to$the$heat$2,$2019,%leaf%aluminium,%egg%tempera%and%oil%on%canvas,%170%x% 250$cm,"p."134! Fig.!136:"mutating(tomatoes,"2013,"left"side"view,"p."136! Fig.%137:"devolution,"detail,"2017,"p."138! Fig.!138:"humanitarian"intervention,"2019,"leaf"aluminium,"egg"tempera"and"oil"on" canvas,'40'x'50'cm,"p."139! Fig.!139:"mutopia(1,"2019,"gold"leaf,"egg"tempera"and"oil"on"canvas,"80"x"95"cm,"p."140!! Fig.!140:!mutopia(2,"2019,"gold"leaf,"egg"tempera"and"oil"on"canvas,"80"x"80"cm,"p."140! Fig.%141:"exhibition"view"mutative(painting,"2018,"Kunstverein)Duisburg,"p."141! Fig.%142:"exhibition"view"mutative(painting,"2018,"Kunstverein"Duisburg,"p."141! Fig.%143:%threshold,"2019,"gold"leaf,"egg"tempera"and"oil"on"canvas,"oviform"250"x"150"cm," p.#142! Fig.%144:!mutopia(1,"2019,"gold"leaf,"PVC"aluminium,#MDM#binder#and#egg#tempera#on# wall$and$floor,$600$x$900$x$600$cm,$SOAD%Gallery%ANU,%Canberra,%Australia,%p.#143! Fig.%145:!mutopia(1,(detail,"p.#143! Fig.%146:!mutopia!2,!2019,!gold!leaf,!aluminum,!MDM!and!pigments!on!wall!and!ceiling,! 330!cm!x!1180!cm!x!330!cm,!p.#144! Fig.%147:!mutopia(2,(detail,"p.#144! Fig.%148:%mutopia(2,(detail,"p.#145! Fig.%149:%threshold!Claudia'Chaseling'(right),'Lapislazuli!and$Lipstick$Aureola!Milovan( Destil'Markovic'(left),(exhibition)view,)3"Haeuser"Kunst"Pfad!2019,&Daun!Eifel,"Germany," p.#145! Fig.%150:%orange'mutant,"2012,"watercolour,!pencils,!egg!tempera!and!oil!on!paper!and! wood,!invented!mutants:!clay.!300!x!280!x!250!cm,!p.!146! ! ! 163 Research'Outcomes' ! Solo'Exhibitions'' ' 2019!mutopia!3,!Museum!Galerije!Nadezda!Petrovic,!Cacak,!Serbia!! !!!!!!!!!!!mutopia!2,!Art!in!Buildings!310!W.,!Milwaukee,!USA! 2018!mutative!painting,!Kunstverein!Duisburg,!Germany! !!!!!!!!!!!!Radiationscape,!Art!in!Buildings,!Times!Equities!55!5th!Avenue!Space,!New!York! !!!!!!!!!!!!City,!USA! !!!!!!!!!!!!siteFmutative!painting,!Yuill!Crowley!Gallery,!Sydney,!Australia!!!!!!!!!!!! 2017!siteFmutative!painting,!Magic!Beans!Gallery,!Berlin,!Germany! !!!!!!!!!!!!silent,!Wollongong!Art!Gallery,!NSW,!Australia! 2016!Spatial!Painting,!Galerie!Dirk!Halverscheid,!Munich,!Germany! !!!!!!!!!!!!silent,!Museum!Kahnweilerhaus,!Rockenhausen,!Germany! 2015!the!mutants,!Art!Helix!Gallery,!New!York!City,!New!York,!USA! 2014!mutative!perspective!paintings,!68!Projectspace,!Berlin,!Germany! !!!!!!!!!!!cloud,!mural!projects,!Volta10,!Basel,!Switzerland!!! !!!!!!!!!!!radiation!scapes,!Krohne!Art!Collection,!Duisburg,!Germany! ! Group'Exhibitions'' ! 2019!(w)rapture,!Yuill!Crowley!Gallery,!Sydney! !!!!!!!!!!!!3!Haeuser!Kunst!Pfad,!Dhaun/Eifel,!Germany! !!!!!!!!!!!!Bonum!Et!Malum,!Kleinervonwiese,!Berlin,!Germany! !!!!!!!!!!!!Killer!Abstract!Women,!KarlROskar!Gallery,!Berlin!Germany! !!!!!!!!!!!!mutopia!1,!SOAD!Gallery!ANU,!Canberra,!Australia! 2018!Station!Paradox,!Momentum!Worldwide,!Kunstquatier!Bethanien,!Berlin,!Germany! !!!!!!!!!!!Landfall,!Lorne!Biennial,!Victoria,!Australia!(with!Milovan!Destil!Markovic)!! !!!!!!!!!!!Fuer!Immer!Blau,!Krohne!Art!Collection,!Kunstverein!Duisburg!and!Villa! !!!!!!!!!!!Waldsteige,!Duisburg,!Germany! 2017!Experimental!Berlin,!Richard!Taittinger!Gallery,!New!York!City,!USA! !!!!!!!!!!Kuenstler!der!Galerie,!Dirk!Halverscheid!Galerie,!Munich,!Germany! !!!!!!!!!!Hyperactive,!Canberra!Contemporary!Art!Space,!Australia! !!!!!!!!!!We!All!Love!Art,!Schlachthaus!fresh&fine!Art,!Berlin,!Germany! !!!!!!!!!!Yuill,!Crowley!Gallery,!Sydney! 2016!3!Haeuser!Kunst!Pfad,!Dhaun/Eifel,!Germany! !!!!!!!!!!Power!Flower,!Magic!Beans!Gallery,!Berlin,!Germany! !!!!!!!!!!Salon!Zuercher,!Molly!Krom!Gallery,!Paris,!France! !!!!!!!!!!Making!the!Future,!David!&!Schweizer!Contemporary,!New!York!City,!USA! 2015!life!or!something!like!it,!Molly!Krom!Gallery,!New!York!City,!New!York,!USA!! !!!!!!!!!!!Streiflichter/50th!Anniversary,!Kunstverein!Celle,!Germany! !!!!!!!!!!!A!Rose!is!a!Rose!is!a!Rose!is!a!Rose,!Woelk!6,!Berlin,!Germany! !!!!!!!!!!!all!about!Eve,!Kunstraum!Bethanien,!Berlin,!Germany!!!!!! 2014!conjunction,!Greenhouse,!Berlin,!Germany! !!!!!!!!!!!ISCP!Open!Studios,!Int.!Studio!&!Curatorial!Program,!New!York!City,!USA! 2013!XFBorder!Biennial,!Valo!Museum,!Rovaniemi,!Finland! ! 164 !!!!!!!!!!Summer!Haze,!Molly!Krom!Gallery,!New!York!City,!New!York,!USA! !!!!!!!!!!Of!Land!and!Local,!BCA!Center,!Burlington,!Vermont,!USA! !!!!!!!!!!Colour!Sharks,!The!Wand,!Berlin,!Germany! !!!!!!!!!!3!Haeuser!Kunst!Pfad,!Dhaun/Eifel,!Germany! ! Academic'and'Public'Presentations' ! 2018!Public!Talk!and!workshop!at!the!University!of!Cologne,!Painting!Department! 2016!Head!of!painting!summer!academy,!Bundesakademie!für!kulturelle!Bildung,! !!!!!!!!!!!Wolfenbuettel,!Germany! 2015/2014!Seminar!teacher,!Bundesakademie!fuer!kulturelle!Bildung,!Wolfenbuettel,! Germany! 2014!Public!Talk,!International!Studio!&!Curatorial!Program,!New!York!City,!USA!! ! Publications' ' 2019'' Kunst!Sammlung!Krohne,!Daniel!Koch!(ed.),!ISBN!978R3R00R062605R0' 2018'' New!Establishments,!Louisa!Elderton,!Elephant!Magazine!(online),!London!UK! 2017'' silent,!Wollongong!Art!Gallery,!NSW,!Australia! Kuenstler!F!Interview!Claudia!Chaseling,!Andreas!Kramer!(ed.),!Deeds!Art!Berlin,! SeptemberRNovember,!p.!104,!105.! Experimental!Berlin,!Richard!Taittinger!(ed.),!Richard!Taittinger!Gallery,!New!York,!USA! Art!Omi!2017!Artists,!Omi!International!Artists!Residency,!New!York,!USA! HYPERactive,!David!Broker,!Alexander!Boynes,!(ed.),!Canberra!Contemporary!Art!Space,! Canberra,!Australia! Claudia!Chaseling!F!The!person!behind!the!grandFscale!spatial!paintings,!Vanessa!Souli,! Art!Dependence!Magazine,!13!October,!Belgium! https://www.artdependence.com/articles/claudiaRchaselingRtheRartistRbehindRtheR grandRscaleRspatialRpaintings! Lichtgestalten,!Goodwin!in!collaboration!mit!Magic!Beans!Gallery,!Goodwin!Procter!LLP,! Frankfurt,!Deutschland! 2016'' Claudia!Chaseling!–!Spatial!Painting,!Benedikt!Stegmayer!(ed.),!Verlag!fuer! zeitgenoessische!Kunst!und!Theorie!Berlin,!ISBN:!978R3R944295R17R6!! 2015' Verwandlungen,!Bilder!von!der!Natur,!Anke!Zeisler!kunst!projekte!e.V.,!Berlin,!Germany,! ISBN!3R937155R14R7! Streiflichter!F!50!Jahre!Kunstverein!Celle,!Kunstverein!Celle!e.V.,!Celle,!Germany! 2014'' Art!Collection!Krohne!Christmas!Card!2014,!Krohne!Messtechnik!GmbH,!Duisburg,! Germany! radiation!scapes!R!Claudia!Chaseling,!Kunst!Sammlung!Krohne,!Duisburg,!Germany! Volta!10,!Kavi!Gupta,!Friedrich!Look,!Uli!Voges!(eds.),!Basel,!Switzerland! XFborder!Art!Biennial!2013,!first!edition!2014,!Dan!Lestander,!Christina!Sikström!(eds.),! Norbottens,!Sweden,!ISBN!978R91R637R4933R9! 2013'' XFborder!Art!Biennial,!Lulea!–!Rovaniemi!–!Severomorsk,!Magazine,!Dan!Lestander,! Christina!Sikström!(eds.),!Norbottens,!Sweden! ! 165 Studioraum!45cbm!F!Ausstellungsdokumentation!2012,!Johan!Holten!(ed.),!Staatliche! Kunsthalle!BadenRBaden,!BadenRBaden,!Germany! ! Articles,'Reviews'and'Documentaries' ! 2019' Noemi!Molitor,!Killer!Instinct:!Die!Lust!an!der!Abstraktion,!TAZ!Plan,!TAZ!Berlin,!20!June,! p.!5! Alex!Zank,!Permanent!artwork!unveiled!in!downtown!310W!office!building,!BIZ!Times,! Milwaukee,!USA,!12!August! Sean!Ryan,!Downtown!building!owner!brings!German!mural!artist!to!Milwaukee's!310W,! BIZ!Journals!Milwaukee,!USA,!9!August! 2018' Heidi!Mitchell,!Out!of!the!Gallery,!Into!the!Streets,!The!New!York!Times,!Weekend!Arts,! Sunday!28!October,!p.!12!and! https://www.nytimes.com/2018/10/26/realestate/luxury/realRestateRartRdisplay.html! Claudia!Chaseling!“Radiationscape”,!New!York!Art!Beat,! http://www.nyartbeat.com/event/2018/C472!! Vesna!Milosavljevic,!Pomeranje!granica!ocekivanog,!SEEcult,!Belgrade,!Serbia,!27! January,!http://www.seecult.org/vest/pomeranjeRgranicaRocekivanog! Boris!Milikovic,!Daniela!Puresevic,!Kulturni!centar,!TV!RTS,!Belgrade,!Serbia,!13!June,! https://www.youtube.com/watch?v=AC_5gj2hlfw!(min.!36:50)! Ausstellung!Mutative!Painting!von!Kuenstlerin!Claudia!Chaseling,!Studio!47,!Duisburg,! Germany,!12!October,!https://www.youtube.com/watch?v=cDP0wofabbc! Olaf!Reifegerste,!Claudia!Chaseling!zeigt!Malerei!der!besonderen!Art,!Rheinische!Post,! Duisburg,!Germany,!13!October,!and! https://rponline.de/nrw/staedte/duisburg/duisburgRausstellungRvonRclaudiaR chaselingRbeimRkunstverein_aidR33639461! Wirbelnde!Installation,!WAZ,!Kultur!und!Freizeit,!Duisburg,!Germany,!13!October! Peter!Haynes,!top!five!Canberra!art!exhibitions!for!2017,!The!Canberra!Times,!4!January!! Luca!Donovito,!Francesca!Natalizi,!Berlin!D’Art!Scene!–!Chaos!Canvas,!D’!Art!Connection,! 27!February,!https://www.youtube.com/watch?v=No5lxrtgkN4! Vesna!Milosavljevic,!Barkodiranje!Zemlje,!SEEcult,!Belgrade,!Serbia,!31!March,! http://www.seecult.org/vest/barkodiranjeRzemlje! Cameron!Best,!Virtual!iceberg!off!Victorias!coast!features!in!sculpture!festival,!ABC!News,! Melbourne,!17!March,!http://www.abc.net.au/news/2018R03R17/lorneRsculptureR biennaleRvirtualRiceberg/9558696! Biljana!Ristic,!The!darker!the!night!the!brighter!the!stars,!SBS!Radio,!Melbourne,!15! March,!https://www.sbs.com.au/yourlanguage/node/1426151?language=de! Adrian!Plitzco,!Strand,!Sonne!und!Kunst!–!made!in!Deutschland,!Österreich!und!der! Schweiz,!SBS!Radio,!Melbourne,!21!March,! https://www.sbs.com.au/yourlanguage/german/de/audiotrack/strandRsonneRundR kunstRmadeRdeutschlandRosterreichRundRderRschweiz! Ed!Ayres,!Brook!Andrew!at!Sydney!Biennale,!Angelica!Mesiti!at!Venice!Biennale,!art!critic! Sebastian!Smee!and!Lorne!Sculpture!Biennale,!Radio!National,!14!March,! https://www.abc.net.au/radionational/programs/theRartRshow/theRhuubRonRartR14R marchR2018/9546150! Lorne!Sculpture!Biennial!–!major!works!and!new!commissions!from!41!artists,!Art! Almanac,!Sydney,!28!February! ! 166 Lorne!Sculpture!Biennale!returns!for!2018,!Green!Magazine,!Victoria,!Australia,! https://greenmagazine.com.au/lorneRsculptureRbiennaleRreturnsR2018/! Claudia!Chaseling,!The!Planner,!Visual!Arts,!Sydney!Morning!Herald,!27R28!January,!p.!14! Spatial!Paintings!by!Claudia!Chaseling,!Lamono!Magazine,!Lisbon,!Portugal,! https://www.lamonomagazine.com/spatialRpaintingsRbyRclaudiaRchaseling/! 2017' Noemi!Molitor,!TAZ!Plan,!TAZ!Berlin,!5!October,!cover!page!! Noemi!Molitor,!Raumsteigernde!Malerei,!TAZ!Plan,!TAZ!Berlin,!5!October,!p.!15! Frank!Schmeichel,!Ausnahmekünstlerin!begeistert!Besucher!der!Magic!Beans!Gallery,! Berlin!Boxx!Business!Magazine,!September,!Berlin!and! http://www.berlinboxx.de/ausnahmekuenstlerinRbegeistertRbesucherRderRmagicR beansRgalerieR2/! Frank!Schmeichel,!Leuchtturm!in!Berliner!Kunstlandschaft,!Berlin!Boxx!Business! Magazine,!November/!December!2017,!pp.!64R65! Claudia!Chaseling,!WideWalls!Urban!&!Contemporary!Art!Resource,!Switzerland,!25! September,!http://www.widewalls.ch/artist/claudiaRchaseling/! Experimental!Berlin!at!Richard!Taittinger!Gallery,!New!York,!Blouin!Artinfo,!30!August!! Richard!Taittinger,!Experimental!Berlin,!Damaged!Magazine,!September,!New!York! https://www.damagedmagazine.com/experimentalRberlin/! Experimental!Berlin,!Wall!Street!International!Magazine,!New!York,!25!September! https://wsimag.com/art/30705RexperimentalRberlin! Peter!Haynes,!HYPERactive,!Various!Artists,!Canberra!Contemporary!Art!Space!Gorman! Arts!Centre,!Canberra!Times,!17!August! Julianne!Cordray,!Studio!Visit!with!Claudia!Chaseling,!Bpigs,!Berlin,!5!July,! http://bpigs.com/diaries/interviews/studioRvisitRwithRclaudiaRchaseling! Spatial!Painting,!Art!Almanac,!Sydney!2!May!2017,!p.!28! http://www.artRalmanac.com.au/spatialRpainting/!! INTERVIEW!Künstler,!Andreas!Kramer,!Deeds!Art!at!Berlin,!Kunstherbst!2017,! September!–!November!2017,!pp.!104R105!and!! https://www.artatberlin.com/portfolioRitem/claudiaRchaseling/!7!September,!Berlin,! Germany!! Vernissage!in!der!Magic!Beans!Gallery,!Kathrin!Michulla,!Karl!Hartwig,!Berliner!Zeitung,! Berlin,!28!August! 2018!Lorne!Sculpture!Biennale!Finalists,!Art!Almanac,!Sydney,!24!April! 2016'' Vesna!Milosavljevic,!Prostorne!slike!kontaminacije,!SEEcult,!Belgrade,!Serbia,!8! September,!http://www.seecult.org/vest/prostorneRslikeRkontaminacije! Egon!Busch,!Claudia!Chaseling!–!Malerie!und!Installation,!Wochenblatt!Beilage,! Rockenhausen,!Germany,!2!November,!p.2,!! Hannah!Schraven,!Berliner!Kunstgriff,!gallerytalk.net!Berlin,!14!June! http://www.gallerytalk.net/berlinerRkunstgriffR14R06R20R06R16/! Irmgard!Berner,!Die!mystische!Vision!des!Alain!Ginsberg,!Kulturkalender!Berliner! Zeitung,!Berlin,!18!June,!p.!1!! 2015''' Brainard!Carey,!"Interviews!from!Yale!University!Radio!WYBCX"!Interviews!on!Yale! University!Radio!WYBCX:!Claudia!Chaseling,!! 22!December,!New!Haven,!Connecticut,!USA,! http://museumofnonvisibleart.com/interviews/claudiaRchaseling/!! Etty!Yaniv,!Life!or!Something!Like!It!at!Molly!Krom,!Arte!Fuse,!New!York,!27!November!! D.!Anika,!Molly!Krom!showing!group!exhibition!Life!or!Something!Like!It!with!Six!Artists,! Widewalls,!Switzerland,!9!November! ! 167 Brian!Edmonds,!Current!exhibition:!Life!or!something!like!it!@!Molly!Krom!Gallery.!NYC,! The!Curating!Contemporary,!New!York,!15!November! Streiflichter!in!der!Gotischen!Halle,!Celler!Presse,!Celle,!Germany,!1!March!! Art!for!streets,!NYC!Urban!Art,!New!York,!February!2015! Frauke!Adesiyan,!Verwandlungen!in!der!Marienkirche,!Märkische!Oder!Zeitung,! Frankfurt/Oder,!Germany,!22!April!! 2014'' Brittany!Natale,!International!Artists!are!Making!Noise!in!Bushwick:!A!Closer!Look!! at!ISCP!Fall!Open!Studios,!Bushwick!Daily,!Arts!and!Culture,!New!York,!17!November! David!Cohen,!ISCP!Open!Studios,!artcritical.com,!6!November,!New!York! Four!German!Artists!Showing!Their!Works!at!ISCP!Fall!Open!Studios,!German!Mission!in! the!United!States,!The!German!Consulate!General!Recommends,!New!York!! iscp!Salon:!Claudia!Chaseling!and!Yuri!Yim,!Asiart!Archive!in!America,!New!York!! salon:!claudia!chaseling!and!yuri!yim,!Art!Wise!Blog,!New!York,!8!December! salon:!claudia!chaseling!and!yuri!yim,!Art!in!Brooklyn,!New!York,!December! Salon:!Claudia!Chaseling!and!Yuri!Yim,!Arthaps,!New!York,!December! Visual!Arts,!australiacouncil.gov.au,!Sydney,!Australia! Ron!Cerabona,!2015!Arts!ACT!Project!Funding,!The!Canberra!Times,!25!September! Volta10!retains!its!mark!at!Markthalle,!artdaily.org,!Basel,!Switzerland,!18!June,!p.!7!! 2013'' Erkundung!und!Spiel!bis!16!June,!Der!Oderlandspiegel,!Frankfurt/Oder,!Germany,!! 11R12!May,!p.!4! Friday!Mickel,!Chase!away!the!dog!days,!Exberliner!Issue!#118!July/August,!Berlin,!23! July!! Vesna!Milosavljevic,!Izmedju!strukture!i!haosa,!SEEcult,!Belgrade,!Serbia,!10!September,!! http://www.seecult.org/vest/izmeduRstruktureRiRhaosa! Armi!Auvinen,!Kolmen!maan!biennaali!vailla!rajoja,!Lapin!Kansa,!Rovaniemi,!Finland,18! June,!p.!8! Holger!Pötzsch,!Claudia!Chaseling!artist!interview,!XFBorder!Biennial,!Rovanimi,!Finland,! June!2013,!published!in!Art!Across!Borders:!Dislocating!Artistic!and!Curatorial!Practices! in!the!Barents!EuroRArctic!Region,!Journal!of!Borderlands!Studies,!27!April!2015,!pp.! 111R125! Panu!Johansson!and!Pilvi!KetoRLeBlanc,!XRBorder!Biennial!2013:!Claudia!Chaseling,! Rovaniemi,!Finland,!13!September,!https://www.youtube.com/watch?v=vmNKX79hjgs!! Künstlerische!Energien,!Märkische!Allgemeine!Zeitung,!TeltowRFläming,!Germany,!3! September,!p.!13!! ! ! !