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FaCTION Invite Summer2014

Gallery 2
F(a)CTION
James Olley, Faculty Organizer

In our contemporary world, the distinction between fiction and reality is blurred, becoming non-existent. Our daily experience is layered by our personal perception, and by the multitudes of different media that we are constantly flooded with. Our normal existence becomes a hyper-real one. The works in F(a)CTION use paint as a mediator between the “objective” truth, and the truth of experience; questioning the boundaries of realism.

 

Artist Talk: Nancy Lowry, Artist in Resident

I am please to announce that Nancy Lowry, NSCAD U Artist in Resident will be offering an artist talk Tuesday August 12th, 12 – 1 pm in room G219. In addition Nancy will be providing studio visits on the same day for our class, please make a note of this date!

Artist Talk: Nancy Lowry, Artist in Resident
When: Tuesday August 12th, 12 – 1 pm
Where: Room G219

“duo”, Oil on Masonite panel , 24” x 24”

Nancy Lowry studied at University of Saskatchewan, completing her BFA at the NSCAD U in 2003. Lowry’s unique “paintscapes” are intimately connected to landscape but demonstrate a strong affinity with abstraction and non-objective painting as well. They employ heavily-tooled paint surfaces, strong gestural marks and a bold use of colour.

Additional Reading

I have included an additional reading for reading discussions on Sensation and Realism,

Deleuze, G. (2003). Note on Figuration in Past Painting. In G. Deleuze (Author), Francis Bacon: The logic of sensation (pp. 8-11). New York, NY: Continuum.

Note on Figuration in Past Painting.PDF

This short reading will offer additional insights for the other readings, Deleuze, G. (2003). Painting and Sensation.PDF and Bell, Julian. Photography and Realism.PDF

The image below, El Greco, The Burial of the Count of Orgaz (1586-8)  is used as examples in the Deleuze reading, Note on Figuration in Past Painting.

A horizontal divides the painting into two parts: upper and lower, celestial and terrestrial. Figures are relived from their representational role  – haven and hell exits in an abstract coded context. The sensation and mood is heightened and exaggerated due to the recognized code it exits in.

  • Religion frees the painter to expresses the figure – free of the demands of representation
  • Because it is part of a coded history
  • Recognized by the viewer – god has no representation, nor do most religious / mythical figures

“Despite appearances, there is no longer a story to tell; the Figures are relieved of their representative role, and enter directly into relation with an order of celestial sensations. This is what qhristian painting had already discovered in the religious sentiment: a properly pictorial atheism, where one could !adhere literally to the idea that God must not be represented. With God – but also with Christ, the Virgin, and even Hell – lines, colors,  and movements are freed from the demands of representation. The Figures are lifted up, or doubled over, or contorted, freed from all figuration. They no longer have anything to represent or narrate, since in this domain they are content to refer to the existing code of the Church. Thus, in themselves, they no longer have to do with anything but “sensations” – pg. 9. Deleuze, G. Note on Figuration in Past Painting