An irreal realm: painting as a means of reflecting on oneirism

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dc.contributor.advisorSiopis, Pennyen_ZA
dc.contributor.authorSimons, Bridget Anneen_ZA
dc.date.accessioned2015-09-15T10:30:24Z
dc.date.available2015-09-15T10:30:24Z
dc.date.issued2013en_ZA
dc.description.abstractMy interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project, namely the formal values I exploited, the quotidian subject matter I favoured, and the sense of contemplation I wished to convey. The correlations I perceived between my concerns and oneirism became more emphatic as my research progressed. The more I read about oneirism, the more I became aware of how the concept could be translated into painted form, a process which in turn inspired my practice. This document serves as a means to reflect on something of this complementary process. Within this framework, my discussion of theories related to oneirism is presented to amplify my painting practice. As a reflection on oneirism, the body of work submitted for my MFA comprised paintings in ink and oil. Many pieces were based on snapshots of views and objects in my surroundings. I often cropped the photographs to focus on a single object or a minor detail of a view. My approach was figurative, although it verged on abstraction depending on the source imagery I selected. I used a close-value palette that was dominated by chromatic greys. The structure of my paintings is quite simple in formal terms and my work is generally small in scale. I used these features and selected my subject matter to parallel theories about the oneiric zone that I discovered in my research. In terms of my aims in this project, and the media and approach I used in my practice, the figurative paintings of Italian artist Giorgio Morandi (1890-1964) and contemporary Belgian painter Luc Tuymans (b. 1958) were most compelling. I responded to their muted palettes and, for me, their work shares a contemplative quality, despite differences in subject matter and approach. However, I was also intrigued by certain artists who used media other than paint to produce work that related to my concerns. I thus touch on the work of some of these artists, in addition to Tuymans and Morandi.en_ZA
dc.identifier.apacitationSimons, B. A. (2013). <i>An irreal realm: painting as a means of reflecting on oneirism</i>. (Thesis). University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art. Retrieved from http://hdl.handle.net/11427/13995en_ZA
dc.identifier.chicagocitationSimons, Bridget Anne. <i>"An irreal realm: painting as a means of reflecting on oneirism."</i> Thesis., University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 2013. http://hdl.handle.net/11427/13995en_ZA
dc.identifier.citationSimons, B. 2013. An irreal realm: painting as a means of reflecting on oneirism. University of Cape Town.en_ZA
dc.identifier.ris TY - Thesis / Dissertation AU - Simons, Bridget Anne AB - My interest in oneirism grew out of my search for a concept that would encapsulate my concerns in painting at the start of this project, namely the formal values I exploited, the quotidian subject matter I favoured, and the sense of contemplation I wished to convey. The correlations I perceived between my concerns and oneirism became more emphatic as my research progressed. The more I read about oneirism, the more I became aware of how the concept could be translated into painted form, a process which in turn inspired my practice. This document serves as a means to reflect on something of this complementary process. Within this framework, my discussion of theories related to oneirism is presented to amplify my painting practice. As a reflection on oneirism, the body of work submitted for my MFA comprised paintings in ink and oil. Many pieces were based on snapshots of views and objects in my surroundings. I often cropped the photographs to focus on a single object or a minor detail of a view. My approach was figurative, although it verged on abstraction depending on the source imagery I selected. I used a close-value palette that was dominated by chromatic greys. The structure of my paintings is quite simple in formal terms and my work is generally small in scale. I used these features and selected my subject matter to parallel theories about the oneiric zone that I discovered in my research. In terms of my aims in this project, and the media and approach I used in my practice, the figurative paintings of Italian artist Giorgio Morandi (1890-1964) and contemporary Belgian painter Luc Tuymans (b. 1958) were most compelling. I responded to their muted palettes and, for me, their work shares a contemplative quality, despite differences in subject matter and approach. However, I was also intrigued by certain artists who used media other than paint to produce work that related to my concerns. I thus touch on the work of some of these artists, in addition to Tuymans and Morandi. DA - 2013 DB - OpenUCT DP - University of Cape Town LK - https://open.uct.ac.za PB - University of Cape Town PY - 2013 T1 - An irreal realm: painting as a means of reflecting on oneirism TI - An irreal realm: painting as a means of reflecting on oneirism UR - http://hdl.handle.net/11427/13995 ER - en_ZA
dc.identifier.urihttp://hdl.handle.net/11427/13995
dc.identifier.vancouvercitationSimons BA. An irreal realm: painting as a means of reflecting on oneirism. [Thesis]. University of Cape Town ,Faculty of Humanities ,Michaelis School of Fine Art, 2013 [cited yyyy month dd]. Available from: http://hdl.handle.net/11427/13995en_ZA
dc.language.isoengen_ZA
dc.publisher.departmentMichaelis School of Fine Arten_ZA
dc.publisher.facultyFaculty of Humanitiesen_ZA
dc.publisher.institutionUniversity of Cape Town
dc.subject.otherFine Arten_ZA
dc.titleAn irreal realm: painting as a means of reflecting on oneirismen_ZA
dc.typeMaster Thesis
dc.type.qualificationlevelMasters
dc.type.qualificationnameMFAen_ZA
uct.type.filetypeText
uct.type.filetypeImage
uct.type.publicationResearchen_ZA
uct.type.resourceThesisen_ZA
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