Paint Park is a body of new experimental virtual and physical abstract paintings created by Alison Goodyear. The works are made using physical materials combined with new technologies in an attempt to test what we understand as painting today. They are to be exhibited at MK Gallery Project Space from February 8th to March 1st 2020.
These paintings explore ideas and possibilities of how an artwork might intervene in the ‘normal’ regime of vision, whilst questioning the materiality of paint and process. The relationship of beholder to painting is addressed by toying with the viewing experience using materials like silk, paint mediums, including digital photography of physical paint palettes, and imagery from virtual reality paintings. These various ways of making, as well as chronicling process within process, combine the mindless with the mindful, digital with physical, production with reproduction, and what might be described as ‘authentic’ with ‘inauthentic’.
The Paint Park installation comprises phygital paintings (works combining physical and digital elements), Augmented Reality works anchored to the phygital paintings and MK Gallery Project Space, films made of VR paintings, VR abstract paintings to be encountered through the headset, and a generative work that learns from the behaviour of the participants to create new works after every participation. This installation provides the opportunity for audiences to dip in and out of real and digital environments, through an emerging playground of paintings.
Alison Goodyear is a visual artist, researcher and educator based in Bedfordshire in the UK. Initially, her early art practice involved working as an abstract painter, using paint on canvas. Over the course of the past two years this practice has evolved into working on painting in the expanded field, testing what it is we understand as painting today and what that might mean for both the artist/maker/producer and the viewer/participant/contributor.
This work connects with Goodyear’s practice led PhD research, completed at Camberwell, Chelsea, Wimbledon Graduate School, University of the Arts London in 2017, supervised by Professor Malcolm Quinn and Professor Daniel Sturgis. This research practice examines the threshold between aesthetic and banal absorption in painter to painting relationships drawing on the theories of Denis Diderot, Michael Fried and David Joselit. It achieves this through a collaborative address to and from painting practice.