This film is based on my early virtual reality painting sketches made in Tilt Brush software. I have then projected this footage onto the phygital painting panels and silk, which has an image of a physical paint palette and a VR painting printed onto it followed by further layers of paint. The silk is moved periodically from above by a fan. Within the film is footage of an experiment filmed in my studio of silk draped over a painting stretcher that is place on an easel, which was also animated by a fan. At certain points within this final film a silk curtain moves and it prompts us to ask where exactly that curtain is, in the studio or in the gallery?

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.