Tropologies of the Line
This project, produced across Critical Historical Studies and Painting (Arts and Humanities), articulates a tropology of the line when presented in the singular; across theory, literature and visual art. It articulates and tests the singular line’s rhetoric and associated values exhibited in these modes of cultural production, suggesting that they cross refer in light of Agamben’s arguments put forth in his Signature of All Things (2009), using a discourse following Lyotard’s concept of ‘drift’ put forth in his Driftworks (1984), whilst attempting to answer the question as to how such a study might be written from within the locus of the subject matter itself.
School of Humanities
Critical & Historical Studies, 2013–2017
Across painting, drawing, sculpture and social practice, the work addresses interdependent relations between objects produced under the demands of historical form and narrative which structures art practice. The work develops in the tension between the contingencies of the studio - of painting as detritus - and the interjections of the world at large; adrift, lyrical, resistant, a poetics of indeterminacy circles the mute presence of material and things.