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An irreal realm: painting as a means of reflecting on oneirism
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 betw...
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| Format: | Thesis |
| Language: | English |
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Michaelis School of Fine Art
2015
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| _version_ | 1867613267191398401 |
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| access_status_str | Open Access |
| author | Simons, Bridget Anne |
| author2 | Siopis, Penny |
| author_browse | Simons, Bridget Anne Siopis, Penny |
| author_facet | Siopis, Penny Simons, Bridget Anne |
| author_sort | Simons, Bridget Anne |
| collection | Thesis |
| description | 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. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/13995 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:33:25.185Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2015 |
| publishDateRange | 2015 |
| publishDateSort | 2015 |
| publisher | Michaelis School of Fine Art |
| publisherStr | Michaelis School of Fine Art |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/13995 An irreal realm: painting as a means of reflecting on oneirism Simons, Bridget Anne Siopis, Penny Fine Art 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. 2015-09-15T10:30:24Z 2015-09-15T10:30:24Z 2013 Master Thesis Masters MFA http://hdl.handle.net/11427/13995 eng application/pdf Michaelis School of Fine Art Faculty of Humanities University of Cape Town |
| spellingShingle | Fine Art Simons, Bridget Anne An irreal realm: painting as a means of reflecting on oneirism |
| thesis_degree_str | Master's |
| title | An irreal realm: painting as a means of reflecting on oneirism |
| title_full | An irreal realm: painting as a means of reflecting on oneirism |
| title_fullStr | An irreal realm: painting as a means of reflecting on oneirism |
| title_full_unstemmed | An irreal realm: painting as a means of reflecting on oneirism |
| title_short | An irreal realm: painting as a means of reflecting on oneirism |
| title_sort | irreal realm painting as a means of reflecting on oneirism |
| topic | Fine Art |
| url | http://hdl.handle.net/11427/13995 |
| work_keys_str_mv | AT simonsbridgetanne anirrealrealmpaintingasameansofreflectingononeirism AT simonsbridgetanne irrealrealmpaintingasameansofreflectingononeirism |