Research Presentation

Painting as Poetry and Process - Jude and Ewan

Inventors of Tradition Review
Katy Dove review
Elinor Stanley review
What i didnt get paid to research
Vivienne Westwood
Antonio Lopez
Matisse
Elizabeth Peyton
Karen Kiliminik
Jutta Koether
Lynette Yiadom-Boakye
Rachel Jones
Karen Kilimnik
Elizabeth Peyton
Chantal Joffe
Hayley Tompkins - FORMATIVE
Rainer Fetting

Relation and relating --Lynette Y-B the early ones

Thinking of encountering - a personality as in install in the Art School
Liveliness - attitude - a spirited connection Having authority on the subject of art and queer
culture is an extremely difficult idea. One can only say there are people in relation to other
people . - Charlotte Prodger

Time - speed right now

(slower before)
Variety to come

It took me many years to articulate and realise that what Im actually interested in is painting
the figure. I started out by avoiding it; painting it seemed very loaded. - Ella Kruglyanskaya

FULL FRONTAL

The orientation as in itself frontality, and a signifer for frontality/metaphorical is frontality.

Remembering when I was that age reading Marc Jacobs book from the Fashion Lives series
The above is Jeffrey Fulvimari, illustrator of Madonnas first childrens book The English
Roses.
Which my mum bought me while she was in London, sent down for training as part of her job
in Boots at the Lancome beauty counter.

There is no separation for me between people I know through their music or potos and
someone I know personally. The way I persceive them is very simila, in that theres no
difference between ertain qualities that I find inspiring in them.
Elizabeth Peyton without the whiteness and straightness
Lynette Yiadom-Boakye - that whatevers not resolved by the end of a painting, go on into
the next
Sometimes perceptible, sometimes not the source of the image
All the painters Im working with - fast rendering, figurative (mostly), portraiture.

Lets see what we can do

With this lovely lovely thing that goes past all racial conflict
And all kinds of conflicts

ITs a reflective tune

And some time in your life you will have occasion to say what is this thing called time
You know, what is that?
The clock
You go to work by the clock
You get your martini in the afternoon by the clock
Your coffee by the clock
You get on the plane at a certain time
And arrive at a certain .
And it goes on and on and on
Time is a dictator as we know it
Where does it go
What does it do
Most of all is it alive
Is it a thing that we cannot touch and is it alive
And then One day you look in the mirror - youre old
And you say where did the time go?
We leave you with that
Relationship with photography, though of course slower still looks speedy that it might just a
be a day, a moment. A sense of a time or feeling - so though slower, almost an enhanced
sense of fleeting
The instant - how to think alongside my installation of lots of things - a
The lack of detail thats almost like a filter. Comes with the speed, the idea of a subjectivity
(this is what is important), or expressed another way a time sensitive: economising of detail only what is important. Distillation - a mood, an emotion, an atmosphere
Partial
Main Headings of my Research
Painting
Drawing
- With John Quinn
- Chinese Brush Painting
- In my book
- Felts
Printmaking
Exhibition making

Lynette Yiadom-Boakye
Rainer Fetting
The more I learn, the more I can say more acutely what I find wrong with Rainer Fetting
And I literally have been struggling with this since first year
Its almost like the difference between making a painting and not making a painting

And Im on the side of painting

But theres so many moments that
---for no perceptible reason
He has not decided to paint
- Negative shape
- A considered relationhip between line and form
- Tone
- Colour
Seeming arbitrary and on this single register - of radically bright
I need some kind of mixed colour sometimes.

Foucault
the world of speech and desires has known invasions, struggles, plundering, disguises,
ploys. From these elements, however, genealogy retrieves an indispensable restraint: it
must record the singularity of events outside of any monotonous finality; it must seek
them in the most unpromising places, in what we tend to feel is without history-in
sentiments, love, conscience, instincts; it must be sensitive to their recurrence, not in
order to trace the gradual curve of their evolution, but to isolate the different scenes where
they engaged in different roles.
However, if the genealogist refuses to extend his faith in metaphysics, if he listens to history,
he finds that there is "something altogether different" behind things: not a timeless and
essential secret, but the secret that they have no essence or that their essence was
fabricated in a piecemeal fashion from alien forms .
The origin lies at' a place of inevitable loss, the point where the truth of things corresponded
to a truthful discourse, the site of a fleeting articulation that discourse has obscured and
finally lost.
The body is the inscribed surface of events (traced by language and dissolved by ideas), the
locus of a dis sociated self (adopting the illusion of
The historical sense gives rise to three uses that oppose and correspond to the three
Platonic modalities of history. The first is parodic, directed against reality, and opposes the
theme of history as reminiscence or recognition; the second is dissociative, directed against
identity, and opposes history given as continuity or representative of a tradition; the third is s
acrificial, directed against truth, and opposes history as knowledge.

He will not be too serious to enjoy it; on the contrary, he will push the masquerade to its limit
and prepare the great carnival of time where masks are constantly reappearing. No longer
the identification of our faint individuality with the solid identities of the past, but our
"unrealization" through the excessive choice of identities-Frederick of Hohenstaufen, Caesar,
Jesus, Dionysus, and possibly Zarathustra. Taking up these masks, revitalizing the

buffoonery of history, we adopt an identity whose unreality surpasses that of God, who
started the charade . "Perhaps, we can discover a realm where originality is again possible
as parodists of history and buffoons of God." 48

Making Looker Trust My Painting Skills

Not totally wiping away all awkwardness