[…] it is just this potential for the literal surface to be transformed into the point of entry to a world that endows it with it’s potential for psychological depth. The picture plane is the defining condition of our relationship to what a given picture shows.
I have been giving thought to surface.
The literal and the invisible.
A ‘plane of conversion’
where the materials and the content become visible as separate parts and the surface of ideas is perceived.
From the front from the back. The present and the past.
Looking for things that cannot be seen.
Feedback this week following my formative assessment indicates that I’m on track with all the criteria, which is great. More interesting though was the conversation about subjective responses to the colours I use. I realised whilst speaking that although my colour decisions are made for particular reasons I had not made a connection between colour and the surface of that colour in the memory of it. I sense that this is very important for me.
An entry point.
1Charles Harrison, Painting the Difference: Sex and the Spectator in Modern Art, 2005, University of Chicago Press. Pg 14
2 Jacques Ranciere, The Painting in the Text, from The Future of the Image, Verso, London 2007, P89
