A Practice-Based Approach to Defining Maximalism

This practice-based Ph.D. is an exploration of the concept of maximalism in the field of visual arts. Previous studies of maximalism in disciplines such as literature and architecture signalled a lack of rigor surrounding the use of the term maximalism with regard to various cultural productions. In addition, the relative scarcity of works addressing maximalism in visual art drove the development of this research, which aims to clarify the definition of maximalism through the practice of art. Through critical interrogation, the body of work developed within this project revealed insights into the nature of artistic maximalism. During the development of the project, a methodological research gap was identified as the absence of a set of procedures enabling the understanding and use of the concept of maximalism. To address this methodological gap, a theoretical framework describing maximalism in terms of formal parameters was constructed. Maximalism was investigated through the exploration of a variety of new and traditional media: holography, virtual reality (VR) artmaking, 3D printing, printmaking and drawing. The study revealed the intrinsically maximalist nature of holography in conjunction with VR artmaking. VR holography, a new art form resulting from this research, expands physical space by using a flat surface to render potentially infinite 3D content. It also connects the realms of the virtual and the real. Other forms of artistic maximalism revealed by this study include: the expansion of the space of art through para-artistic devices, intensity maximalism explored through miniature drawing, chromatic maximalism, durational maximalism and narrative maximalism. Maximalism as an artistic practice reflects an engagement of the artist in a continual process of becoming, as a method to access and explore new tools for artistic expression. The main contribution of the research is a twofold definition of maximalism. On the one hand, maximalism is defined as a mode of artistic expression intrinsic to the artwork, a definition which lends itself to a type of art analysis partially grounded in formalism. On the other hand, maximalism is proposed as a characteristic of the process of artmaking, referring to a strategy which the artist employs as a means of decentralising the artistic self. Investigating these forms of maximalism showed the potential usefulness, to art theory and criticism, of a theory of maximalism based on aesthetic formalism. The clarification of the concept of maximalism constitutes a contribution to the vocabulary and discourse of art

Carbon Meets Silicon II

The exhibition was part of the seventh International Conference on Internet Technologies and Applications (ITA17), held at Wrexham Glyndwr University from Tuesday 12 to Friday 15 September in 2017. The exhibition bought the work of fifteen diverse artists, scientists and technologists working in a range of media who have all in some way collaborated via ideas with specialist outside of their immediate field of enquiry. International artists from Chicago, Italy and Denmark met with UK artists from Wales, Salford and Bristol to reflect on the global nature of ‘Carbon Meets Silicon’. All of the artworks in the exhibition were about making connections and every artist involved had collaborated in some way. The exhibition theme uses carbon and silicon as metaphors for the changing face of art practice in the digital age. Carbon references the materiality of the art object and silicon references how an artworks physical presence is questioned in the light of new media, resulting in the digital or virtual bringing artists closer to scientists and engineers. The focus for this year is Arts/Science/Technology Collaborations and the exhibition brings together the work of sixteen diverse artists, scientists and technologists working in a range of media who have all in some way collaborated via ideas with specialist outside of their immediate field of enquiry. To understand the complexity of the world we need to utilise the cognitive evolutionary tools developed through both scientific and artistic thinking. Science allows us to understand causality, predictions and rationality; art gives us expression, surprise and has the capacity to change minds. Collaborations between the arts and sciences has a long history of interdependence, but also tension and antipathy. Acknowledging the things we don’t know we don’t know; to quote Rumsfeld ‘the unknown unknowns’ [1] is as important as knowing the as the known unknowns and Crew’s approach to knowledge sums it up nicely. He said that we should follow: “the ethic of respecting that which is known, acknowledging what is still unknown and acting as if one cared about the difference” [2] Today we must re-frame our perceptions to ensure this dualism does not set artists and scientists apart. Global Challenges are better understood with a diverse team of researchers from both the arts and sciences working on solutions together. Collaboration can results in new approaches to core issues that may underlie developmental problems. "Third culture starts when artists become scientists, when science paints the future, when systems are predictive and when politicians become poets." [3] In 1963 the influential scientist and novelist C.P Snow’s book The Two Cultures and the Scientific Revolution was published outlining an optimistic view of the sometimes difficult relationship that exists between science and the arts [4]. Scneiderman (2016) advances the case for combining applied and basic research work to put the arts on an equal footing with science. Holzbaur (2012) recognised new paradigms for multi-disciplinary, inter-disciplinary and trans-disciplinary collaboration with an understanding that if you think beyond traditional disciplines you can impact societal change [5]. The generation of new knowledge often arises on the boundaries of disciplines rather than within them. This exhibition and symposium explores the well-established discourse that exists between artists, scientist and technologists and how this symbiotic relationship has brought new understandings to the world. References [1] Rumsfeld, D (2002) "Defense.gov News Transcript: DoD News Briefing – Secretary Rumsfeld and Gen. Myers, United States Department of Defense (defense.gov)" [2] Crews, F. (2006). Follies of the Wise, Shoemaker and Hoard. Emeryville, CA. [3] Matthias Horx (2012) Keynote Speaker ELIA Biennial Conference: Art, Science and Society 8-12 Nov, Hosted by the University of Applied Arts, Vienna. [4] Snow, C. P. (1959) The Two Cultures. Cambridge University Press, Cambridge, UK. ISBN 0-521-45730-0 [5] Earnshaw R.A (2017). Holzbaur, U.D. (2012) and Scneiderman (2016) cited in: Art Design and Technology: Collaboration and Implementation, Springer, Switzerland, Chapter 2 Independent Working, Collaboration and Team Activity. p 9-1