Master PDF copy Alex low res.pdf

7/30/2019 Master PDF copy Alex low res.pdf

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This body of work stands as acomparison between two differentaesthetic judgments: one handfocuses upon the beautifullyaesthetic nature of paintingand portrait photography, theother, a discomforting insightinto the harsh actuality of theprocess. This book presents apersonal conflict centered onthe sacrifice of identity. Thecomparisons between the realityof the performance and thefalsehood of aesthetic outcomesacts as a blurred metaphor of

an anxiety towards an over-saturated media culture and asan experience that reflects theinherently subjective nature ofperspective in contemporary art.

~For Nan~

alexander dodgson


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# 1

2011

A play of colour

1-4

# 2

2012

The mark maker

5-6

# 3

2012

Aesthetic anxieties

7-8

# 4

2012

The consumer of

nothing

9-10

# 5

A testament to

witness

11-12

# 6

2011

I could never see

it coming

12-13

# 7

2011

The consumer of

something

14-15

# 8

2012

The experimentation

of an explanation

16-17

# 9

2012

Monitored areas

18-19

# 10

2012

Painted portraits20-21

# 11

2012


# 12

2013

Oh my

transgressions

26-27

# 13

2013

The artists body

28-29

# 14

2013

A self-abdiction

of Terms

30-31

# 15

2013

Never trust a

madman in a box

32-33

# 16

2013

The deception of

your perception

34-35

# 17

2013


# 18

2012

Painted portraits4

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contents

# 19

2013

Painted portraits5

40-41

# 20

2012

Colour your minders

42-43

# 21

2013

Painted portraits6

44-45

# 22

2013

Post-operatic

representation

46-47

# 23

2013

The betrayal of

the self

48-49

# 24

2013

The matter of

the mind

50-51

# 25

2013

A need for

the other

52-56


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Art is experience; the audience surrenderstheir passivity and becomes their ownmark-making tools.

A play of colour

1 2


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3 4


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The artist should understand the principlesof process; they make for a betterunderstanding of narratives and journeys.

5

The mark maker

6

A th ti i ti


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7

Where do we find the artistic value in awork? Is it in the aesthetic outcome of thefinal piece or is it found in the processof creation?

Aesthetic anxieties

38


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The notions of interaction,participation and performance haveremained vital, as methods ofexploration and experimentation.

9

The consumer of nothing

10


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This work asks the viewer to considerthe power relationships between audienceand artist, who in this situation istruly in control?

11

A testament to witness

12


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The juxtaposition of the passive anddefiant nature of this performance is anattempt to define what role the artistholds within society.

12

I could never seeit coming

13

The consumer of


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In order torepresent aself-reflectiveexperience, theartist must taketime to step backand consider thecontexts andrelationships ofthe world aroundthem. Art making isconsistent failureafter failure theninstant successthen failure again.

14

something

15

Theexperimentation


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In questioningour collectiveunderstanding ofartistic practiceand the valuableart object, webegin to see thebreakdown ofbarriers betweenhigh art andthe public.

16

experimentationof an explanation

17


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In comparison to aesthetic anxieties,this work contrasts the nature of theartist through a physical representationof the boundaries (or lack of) between theprocess and the outcome.

18

Monitored areas

19

Painted portraits


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20 21


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Painted portraits

22 23


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24

Painted portraits

25


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By losing purpose, one can lead to certainmiss-understandings. This is a reaction todevelopment of an unwanted aesthetic andthe loss of the self.

Oh my transgressions

26 27

The artist must

The artists body


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The artist mustsuspend his ownspecific purposein order torepresent the herossacrifice, by doingso, finding himselfon equal groundpolitically andinfluentially.

28 29


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The combination of applied paint indexedthrough gesture and self-representationalmark making authenticate the process ofcreation and establish a transcendent signof presence highlighted by the artists body.

A self-abdication of terms

30 31

h i i

Never trust amadman in a box


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The artist is nolonger confinedto limitations oftraditional mediumsand applicationof aesthetic is asecondary concern.Instead, the artistconsiders thesocial bonds ofcivilization andnavigates their ownpersonal trajectorythrough it.

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The artist must demonstrate all the qualityof poetry, acting, writing and artwork in

The deception of your perception


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g gso far as he is publically enacting thesurrender of his egotism, his isolation andhis supposed authorial autonomy.

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Painted portraits


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36 37


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Painted portraits4

38 39


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40 41

Painted portraits5

Situating aroundephemeralperformances with

Colour your minders


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42 43

an alternativeagenda, therealm of humaninter-action, tohighlight theprominence ofissues in betweenthe social dynamic


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44 45

Painted portraits6

This mirroredassortment ofobjects and the

Post-Operaticrepresentation


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objects and thepaint stained bodywere used to createa stylizationof social formthat complimentsthe complexity,seriousness andconsequences ofartistic sacrifice.

46 47

These Artworksconsider theaudience as

The betrayal ofthe Self


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an integralelement to itscreation, withoutparticipantsin this socialexperiment, thework would ceaseto function andtherefore becomeobsolete

48 49


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The artist should not become an iconof his own making to be revered by aseparate and distant audience, where thecelebrity of art is more important thanthe product of thought surrounding it.

The matter of the mind

50 51

This paradoxical self-abdication into the masses has allowedthe artist room to directly control the audience at hisown will, giving them an equal stake in the creation of anartwork, by removing them from their passive and detachedposition as the viewer.

A Need for the Other


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52 53

I used my body as a medium to challenge authorialideology and present the audience with innatepsychological dilemmas about their own experience ofan art event.


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54 56

Photographers

Allesandro De Besi

pg 36-37

Joseph Mayers


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Designer

Chris van Niekerk

Assistants

Kendle Topping

William Gasdby Peet

William Leeming

Katie Hoskin

p y

pg 1-4.

Declan Gerharty

pg 32, 33

Karen Rangley

pg 52,53.

Aknowledgements 3

Many thanks to all the tutorsand staffing at Leeds College ofArt for their help and patiencethroughout university.


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Master PDF copy Alex low res.pdf