IN PERCEPTION BETWEEN THE NEWLYN SCHOOL OF PAINTING
AND THE EMERGENCE OF IMPRESSIONISM ON THE
CONTINENT DURING THE PERIOD 1884 TO 1930
Performance at the Newlyn Art Gallery on November
14th 2007 at 8pm
in the education studio.
Booking for places is necessary as audience numbers
are limited to 25.
The performance in the form of
a live painting concerns itself with the Rustic Naturalism of the colony
of artists painting in Newlyn, Cornwall, and the developments
concurrently in painting of the ëImpressionistsí such as Monet,
Seurat, Signac, Vuillard, who were also dealing with the Natural world, but
in a very different way on the Continent. Perception as explored in the performance
is not only one of technique in painting, but also how the eye and the mind
work together in their reflective function.
To the audience it is an invitation to step into the newly built education/studio
room to encounter an artistís view of the changing nature of perception,
through the visual evidence of the performance.
You might say that our thesis in performance is based on the idea of transcendence
and the subjectivity of the artist. This would be correct, as during the performance
it will, amongst other things, become evident that in terms of perception we
feel that it is necessary to start at the beginning, wherever that point of
beginning might be. As Phenomenology itself has determined the philosophic
basis for the project of deconstruction so it is apparent as a science of beginnings
The performance thesis project was initiated by Turner with important support
from: Whitaker [performance thesis] (researcher and performance/lecturer in
radical performance), Yon (dance artist), Wahl (music performance), Mallinson
(music and film).
Recorded voices in performance of Alison Bevan, Melissa Hardie and Bob
Norman Garstin in 1886 said:
"Everyone of us is condemned to solitary confinement in himself for the
term of his natural life. The arts serve to tell him that as other men
and feel the same as he does, then it is possible that his sensations are
mere illusions. That sense of companionship in sensation is the satisfaction
the arts; it is the means by which we look into one another’s souls
Merleau-Ponty in 1967 said:
"Sight, hearing, touch. birth. death, are all alien to personal life,
they remain anterior. Perception cannot be encapsulated in the first person
is never an individual who sees, touches, it is the whole species as such
one sees, one hears, one touches, it is a generic biological endowment.
is also social, we all share speech".
"However it is only through language that progress can be made in one’s