Abstract

The thought before the mark, in essence the beginnings of the processes of painting, in this case abstract painting. Would be to consider possibilities of painting with the context of asemic writing. Where asemic writing offers no description of anything outside of itself, yet maybe the articulation of something, in other words, intuitive, impulsive painted marks that exist as utterances but without the equivalent formation of words. Schwenger writes, that the markings we see represent thought processes but are without content, “Asemic writing is an example of such surface models: it implicitly asks us to conceptualize what we are seeing – not reading” (Schwenger, 2009, p. 7).
This thesis was written to demonstrate the possibilities of marks and gestures forming an expression an as embodiment of the whole body, not just the mind, to consider utterances and gestural marks as the beginnings of an idiosyncratic language. The research is framed by the recognised practice of abstract (or non-representational / non-figurative) painting. I include comparative examples of recognised abstract artists including Roger Hilton, Robert Ryman and the philosophical theories of Maurice Merleau-Ponty and cognitive scientist Guy Claxton. All of whom have been invaluable sources of reference during my research and enabling me to gain further understanding in what abstract painting may mean to the individual? More specifically, it is shaped by my personal practice as an artist who happens to create identifiable abstract paintings as opposed to forms of representational (or figurative) painting. Similar to my practice, the wider theoretical research is informed by the personal and unique experiences of being an artist and a mother of two children with autism.
The thesis also considers the wider question of how a visual artist could best use theoretical research to further their knowledge and understanding of their painting practice. At the core of this question is the paradox of ascribing to something that is essentially mute the characteristics of verbal language. How, therefore, could a practising visual artist reconcile what appears to be an inherent contradiction between the verbal and non-verbal? Especially in the case of an artist who understands the origins of their own practice and its specific operations arising tacitly and from the desire to express emotional feeling in non-verbal terms, through the visual and material qualities of paint. Herein lies the central question of how meaning can be found in how we make decisions of what to paint and how to paint.
At its most fundamental, the act of abstract painting, whether figurative or abstract, could be described as the compulsion to make marks on a surface which is then presented for contemplation on a wall. What exactly compels someone to do this? Is it possible to answer this question? Does it matter? Is it necessary to understand, and is it possible that the lack or absence of understanding is a necessary element to the act or performativity of painting? How or why does someone then self-identity as an ‘artist’?
Arising out of my own personal and individual experiences, my research considers the question of learning through specific challenging circumstances and how meaning can be ascribed to such experiences. In answering this question, focus has been on an individual process of creative mimesis, informed story-making for storytelling as a mechanism of learning and meaning-making. Storytelling via reflective narrative enables a way of reflexive learning through challenging personal experiences and providing the articulation of meaning. In this context, meaning-making is recognised as a process wherein one imbues a particular event or phenomenon with a sense of personal significance, where the consequent subjective meaningfulness reflects the experience of feeling in instances of perceived personal significance (Dishon et al., 2018). In terms of personal life-narrative, this process of storytelling as meaning-making serves as a way of overcoming challenging experiences and developing the resilience necessary to move beyond them.
From this process of personal mimesis, there is also the potential for the transferability of experiential learning in terms of how we might better understand the self and look towards helping others with regard to those who may have similar situations and experiences. This, in turn, could potentially convey or determine and shape a wider collective set of experiences or phenomena, with therapeutic value to those who experience them.