Between Volume and Non-Matter: the autonomy of painting and the intersection of sound and materiality

Abstract

The problem with the correlation between painting’s flat surface and three-dimensionality of depicted objects has been one of the central issues in the history of art, prompting artists to develop numerous mimetic techniques. This paper argues that the introduction of three-dimensionality in painting dating from the early 20th century is strongly connected with concept of art’s autonomy. Moreover, this ‘reality’ can invade the personal space of a viewer, creating valuable tension and connection, from which a new form of dialogue with public emerges. Through an indepth analysis of art history and citing my own work, I explore the idea that materiality expands the limits of ‘matter,' creating a free associative ‘no-matter.’ This unique idea is manifested through the use of form as it relates to sound. The use of form links sculpture with painting, challenging the preconceived notions that painting is only two-dimensional. Materials are both modern and traditional, incorporating 3D printing techniques that link form with sound; while oxidation and damage reiterate the notion of time.