Transcript
DR ANNEMARIE MURLANDTHE ARTIST AS RESEARCHER
CONTEMPORARY PA INT ING IN PRACTICE :USES ITS MATERIAL LANGUAGE AS A RESEARCH METHODOLOGY TO
EXAMINE AND EXPLORE THE ART IST AS RESEARCHER’S TAC IT EXPER IENCES AND IDEAS THROUGH A CREAT IVE , INTERDISC IPL INARY, ACT IVE AND
COLLABORAT IVE LENS.W RA P P E D U P A N D N O W H E R E T O G O , I N T E R D I S C I P L I N A RY PA I N T I N G , G RA P H I T E , I N K A N D O I L
O N PA P E R O N BO A R D , 2 0 1 4 .
Annemarie Murland: Materials Matter: Wrapped ll, Interdisciplinary Painting, Drawing and Printmaking, on Arches Paper,120x80cm, 2014.
Project Title: AM 73
Question: Why did you make that and cal l i t a painting?
Subject Matter: Painting in the expanded field. Genre: ‘Condit ional Abstract ion’. Context: Materia l Contrasts. Concept : Faktura Methodology: Experimental: Think-Make-Reflect. Media: Interdiscipl inary. Medium/Materials: A combination of alternative and tradit ional surfaces
and strainers: Cast/Woven/Knitted/Khozo Paper/ Polythene. Including tradit ional and non-tradit ional materials and technologies.
Visual Concepts: Texture – Light – Size - Scale – Temperature – Perspective – Space – Colour- Form.
Outcome: Indeterminate abstract paintings.
QUEST IONW H Y D I D YO U M AK E T H AT A N D C A L L I T A PA I N T I N G?
O N C E W E W E R E F I SH E R M E N I , O I L O N C A N VAS O N BOA R D , 6 0 X 6 0 C M , 2 0 1 4 .
Lea rns by do ing .
I s sk i l l ed i n synthes i s i ng d i spara te sources o f i n fo rmat i on .
Respec ts t rad i t i ona l and h i s to r i ca l s t ruc tu res .
Ar t i cu la tes c rea t i ve p rac t i ce th rough engag ing w i th mate r i a l cu l tu re .
Unders tands the ro l e o f c rea t i ve p rac t i ce as a cu l tu ra l f o rce .
Has mu l t i p l e pe rspec t ives : I n terd i sc ip l i nary , I n t rad i sc ip l i nary , Transd i sc ip l i na ry.
Expects c r i t i ca l f eedback .
I s soc ia l l y engaged and l i ves i n a netw ork cu l tu re .
Expects access to qu i ck and fas t know ledge – techno logy makes shar ing eas ie r.
Expects to l earn on l i ne .
Shares and rece i ves know ledge [soc ia l scho la rsh ip ] th rough new med ia i n te r faces .
I s the aud ience - the au tho r - the a r t i s t - the cura to r – the c rea to r and consumer.
THE CONTEMPORARY ARTIST AS RESEARCHER
O N C E W E W E R E F I SH E R M E N I I , O I L O N C A N VAS O N BOA R D , 6 0 X 6 0 C M , 2 0 1 4 .
Educat iona l Techno logy too ls , Web 2 .0 techno log ies and changing methods o f de l ivery and inst ruc t ion engage the s tudent in co l l abora t ive and ac t ive learn ing processes . The fl ipped s tud io means par t i c ipat ion through inte rac t ive l earn ing s t rategies i n and out o f s tud io to improve the deve lopment o f d ia logue and d i scourse . The s tudent ’s v i sua l vo ice and sense o f se l f in prac t i ce i s thus enhanced as i s the learn ing env i ronment .
Best teach ing prac t i ce concent rates on new ways o f see ing and do ing through a process o f p rac t i ce that enhances deeper learn ing through ac t ive par t i c ipat ion , co l laborat ion and engagement w i th in a s tud io set t ing .
Be ing a par t i c ipant and learner in a b lended learn ing env i ronment[ face to face] sess ions mean more h igher order conceptua l and c r i t i ca l th ink ing takes p lace wh ich i nfluences the c reat ion o f h igh ly deve loped and thought through work. Th is type o f learn ing env i ronment inc reases ac t iv i ty th rough par t i c ipat i on and d ia logue d i scourse emerges that u l t imate ly prov ides oppor tun i t i es for d i scovery and [new] knowledge product ion through the prac t i ce o f mak ing .
Learn ing in a fl ipped s tud io requi res engaging in se l f de termined l earn ing o f course content be fore s tudio sess ions , mean ing that she /he i s p repared and ready to engage in s tud io prac t i ce ac t i v i t ies . U l t imate ly everybody, fac i l i ta tor i nc luded i s more organ ised and engaged, thus more th ink ing and do ing takes p lace .
Best teach ing prac t i ce ac t iv i t ies make best use o f s tudents ab i l i t i e s and t ime and are reflect ive o f the chang ing re lat ionsh ips i n knowledge product i on and recept ion o f c reat i ve prac t i ce as a learn ing/knowledge bui ld ing too l that c reates mean ing w i th in and beyond the academy.
INNOVATION IN BEST TEACHING PRACTICE IN THE FLIPPED STUDIO
O N C E W E W E R E F I SH E R M E N I I I , O I L O N C A N VA S O N BOA R D , 6 0 X 6 0 C M , 2 0 1 4 .
O N C E W E W E R E F I SH E R M E N I V , O I L O N C A N VA S O N BOA R D , 6 0 X 6 0 C M , 2 0 1 4 .
O N C E W E W E R E F I SH E R M E N V , O I L O N C A N VA S O N BOA R D , 6 0 X 6 0 C M , 2 0 1 4 .
Annemarie Murland: Crossing Borders, Oil on Canvas on Board, 60x60cm, 2014.
DRAWING INTO PA INT INGR O O T E D E L SE W H E R E , GRA P H I T E , C H ARC OA L , I N K , G E S S O A N D O I L PA I N T O N
K H O Z O PA P E R , 1 8 0 X 1 5 7 C M , 2 0 1 4 .
INTERDISC IPL INARY PA INT INGW RA P P E D U P A N D N O W H E R E T O GO , C H A RC OA L AN D O I L PA I N T O N PA P E R O N
BOAR D , 1 2 0 X 8 0 C M , 2 0 1 4 .
INTERDISC IPL INARY PA INT INGR O O T E D E L SE W H E R E , GRA P H I T E , C H ARC OA L , G E S S O A N D O I L PA IN T O N K H O Z O
PAP E R , 1 8 0 X 1 5 5 C M , 2 0 1 4 .
B O D H RA N B E AT S O F WAV E G E N T LY L A P A G A I N S T H E R S K I N , W H E R E D O C K I N G LO V E L E AV E S H E R B A R E A N D O P E N L I K E T H E M I N C H T H AT S E PA RAT E S H E R F R O M H E R A I N .
S W O L L E NS H E R I S E S T O D I V E B E N E AT H WAT E R S D A R K T H AT P E N E T RAT E P I L LO W S O F P L E A S U R E .
B O T T O M L E S S A N D WAT E R LO G G E D S H E WAV E R S F O R H E R C E N T R E , T H E S E A .[ A N N E M A R I E M U R L A N D : T H E S E L K I E P O E M , E X E R T ]
T H E S E L K I E , M I X E D M E D I A O N A RC H E S PA P E R , 1 2 0 X 8 0 C M , 2 0 1 2 .
Annemarie Murland: The Selkie, Drawing into Painting, Mixed Media on Paper on Board,110x100cm, 2010.
T H E S K Y WA S S I T T I N G O N T O P O F H E R H E A D ; I T WA S V E R Y LO W A N D G R E Y T H AT D A Y. S H E R E C A L L S I T A S I F Y E S T E R D A Y; F O R T I M E I N M E M O R Y I S I R R E L E VA N T.
A L I F E E X H A U S T E D BY G O O D - BY E S . A L I N G E R I N G M E M O R Y; A S E N S AT I O N , N E V E R F O R G O T, N E V E R P E R M A N E N T, A LWA Y S B I D I N G T I M E .
A N N E M A R I E M U R L A N D , 1 9 9 1
G A L W A Y S H A W L , O I L O N B E L G I A N L I N E N , 1 4 0 X 1 1 0 C M , 2 0 0 9 . A N N E M A R I E M U R L A N D : A F T E R B E F O R E W H I T E R A B B I T S … , [ 2 0 0 9 ] , 6 .
Annemarie Murland: Galway Shawl, Oil on Linen, 140x110x15cm, 2009.
W E A V I N G T H R O U G H K N I T T E D Y A R N S T H A T H O L D T I G H T S T O R I E SP R E C I O U S M O T H E R ’ S G I F T U N F O L D S I N B R O K E N T H R E A D S
S T I T C H I N G T I M E B A C K , W H E N L I F E W A S A L L B U T AF R A G M E N T O F T H E FA T H E R ’ S E Y E
S H E M O V E S T H R O U G H S P A C E S D A R K T O F I N D R E S TS H E S I G H S A T L A S T ,
I A M H O M E .W E A V I N G P A I N T : O I L O N B E L G I A N L I N E N , 1 4 0 X 1 2 0 C M , 2 0 0 9 . A N N E M A R I E M U R L A N D , 2 0 0 9 .
Annemarie Murland: Gallowgate, Glasgow, Oil on Belgian Linen, 90x70cm, 2010.
ANNEMARIE MURL ANDC O LO U R A S F O R M , L A N D S C A P E , O I L O N L IN E N O N BOAR D , 7 9 X 5 3 C M 2 0 1 3 .
ANNEMARIE MURL ANDC O LO U R A S F O R M , L A N D S C A P E , O I L O N L IN E N O N BOAR D , 7 9 X 5 3 C M 2 0 1 3 .
ANNEMARIE MURL ANDC O LO U R A S F O R M , N E D K E L LY W H E R E A R E YO U ,
O I L O N C A N VA S O N BOA R D , 7 9 X 5 3 C M , 2 0 1 3 .
ANNEMARIE MURL ANDC O LO U R AS F O R M , A BST RAC T I O N , O I L O N L IN E N O N BOAR D , 7 9 X 5 3 C M , 2 0 1 2 .
Annemarie Murland: The Marian Thread, Digital Print, 2013.
Stories of Origin, Dublin 2015, New Voices Ireland Project.Pope Joan, Digital Print, 40x40cm 2015.
THE SOUND, THE UNFAMIL IAR SYNTAX CHOKED THE VERNACULAR FROM HER THROAT, WHO WAS TH IS G IRL , A BR IDE DRESSED IN AWKWARD
CLOTHING SU ITABLE BUT YET NOT SO SU ITABLE?[ A N N E M A R I E M U R L A N D 1 9 9 1 ]
QU EEN V ICT OR IO U S , D IG ITA L PR IN T , 4 0X 30 CM , 2 0 15 .
Annemarie Murland: The Marian Thread l, Digital Print, 2013.The Marian Thread is an interdisciplinary collaborative research project with Irish
artist Kiera OToole: www.marianthread.com
I N A L I G H T T H AT WA S N O T G R E Y I FA I L E D T O R E C O G N I S E M Y S E L F. I H A D N O T H I N G I N C O M M O N W I T H T H I S P L A C E A N D S O I R E J E C T E D T H E L A N D S C A P E , C U LT U R E A N D P E O P L E T H AT
S U R R O U N D E D M E , A L L O F I T R E I N F O R C E D A S E N S E O F D I F F E R E N C E A N D O F N O T B E L O N G I N G O N C E M O R E . T H I S P L A C E WA S T O O D I F F E R E N T.
A N N E M A R I E M U R L A N D , 1 9 9 1 .A N N E M A R I E M U R L A N D : A F T E R B E F O R E W H I T E R A B B I T S … ( 2 0 0 9 ) . 4 6 .
The Marian Thread l l, Digital Print, 2013.
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