ART PRACTICE INFORMED BY TITLE

Logomachy -contention about words or in words

Violatic-flying about

Elutriate-to separate by washing into finer portions

Embower-to place in a bower; to shelter with trees

Isochrone-line connecting points of the equal time difference or simultaneous

Nervure-vein of a leaf

Villanelle-TERCETS AND A QUATRAIN

Kaleidoscopic In Nature

 

The works are kaleidoscopic in nature as I acknowledge the influence of the education philosophy set out in Deleuze and Guattari’s (1987) Figuration of a Rhizome and Heidegger’s (1971) Ideas on Truth and Being,

By using the convergence with their ideas on rhizomatics, thinking and learning, my art practice in this body of landscape photographic works deconstructs and provokes a re-examination of many accepted structures within the fields of practice in visual arts and education.

The idea of rhizomatics in art practice and pedagogy can inform an exploration of thinking that could liberate educators and learners from the restrictive invisible mental spaces in current pedagogical trends of the educational conceptual landscape where  limitations on creative and authentic practices are subverted by replicable ways of thinking.

PROFESSIONAL EXPERIENCE

 

  • Exhibitions and events management consultancy including professional development workshop facilitation  services,
  • Several Solo art exhibitions, private commissions for art patrons benefactors and art collectors
  • Art gallery exhibition and, Community CulturalCreative and Performing Arts
  • publicity website design  Advertising media  campaign design exhibition catalog publication, Australia Council for the Arts Project funding  proposals
  • Executive Speech Writing and public speaking
  • Competent Accredited teacher Service
  • Academic University Tutor
  • Multicultural and Interdisciplinary Learning Project  Design
  • Indigenous Learning Theory
  • Guided Reading and Comprehension Strategy
  • Guided Writing Strategies
  • Gifted and Talented learners Extension
  • University Academic Referencing Standards Workshop Design and Facilitator
  • Study Skills Workshop
  • Learning Support Design
  • NSW Government Health Safety  Risk Management Documentation Compliance
  • Academic Examinations and Assessment

 

5 KINETIC DRAWINGS SOLD

BRETT DORAN Imitation 2017 Graphite on paper. 42.0 X 59.4 CM AU $330 (SOLD)
BRETT DORAN Water Views  2017 Black ink on paper. 42.0 X 59.4 CM AU $330 (SOLD)
BRETT DORAN Influences 2017 Black ink on paper. 42.0 X 59.4 CM AU $330 (SOLD)
BRETT DORAN Expanding Grounds 2017 Black ink on paper. 42.0 X 59.4 CM AU $440 (SOLD)
BRETT DORAN Theme Park Ride 2017 Black ink on paper. 42.0 X 59.4 CM AU $330 (SOLD)

LIMITED EDITION PRINTS

WHY MUST I DRAW?

 If I could I would draw like the way birds sing.  Often metaphorical, my drawings are an echo of a delicate balance between nature and humanity.

“As kids, we went to the page to find something, to have an experience. As adults, we have it backward. We think that we need to have experience before we go to the page” -Linda Barry

“Drawing is my way of explaining to myself what goes on in my mind,” said  “It’s not I who makes this drawing.  It’s the hand that drew that makes it.” -Saul Steinburg

“Drawing is 50,000 years old, isn’t it?, I think it comes from very deep within us. When all those people in the 1970s were trying to give up drawing, I did go and see them and they said: ‘Oh, you don’t need to draw now.’ And I did point out: ‘Well, why don’t you tell that to that little child there? Tell them you don’t need to draw and see what happens.”  – David Hockney

EXHIBITION LINES OF FLIGHT PUBLICITY RELEASE 8/17

Lines of Flight Art Exhibition August 2017

The Shop Gallery, 112 Glebe Point Road, Glebe, NSW, Sydney, Australia.

The Glebe Shop Gallery is showing in August 2017 more than 20 recent kinetic drawings created by Brett Doran, a visual artist, and design educator.

On show are drawings made of kinetic and mechanical intensity captured with environmentally installed devices constructed to illustrate energy and movement and expressive rhythmical and meandering lines.  These energetic visual recordings from natural and constructed environments resemble culturally synthetic calligraphy or seismographic annotation of physical and emotional journeys through places and spaces. 

TThe drawings boldly attempt to reveal the truth about the beautiful pandemonium of change we frequently adopt in our lives. From viewing these works  there is a strong sense of  a rebellion of dominant cultural approach to drawing as art practice seeking to reach   profound enlightenment by  illustrating the effect of invisible energy or spirit of being present in a time and place

 

ABOUT BRETTDORANART 08/17

Brett Doran is an Australian multimedia artist and accredited secondary high school visual arts, photography and visual design educator best-known for conceptual drawing, painting, and light projection.

Born in Maroubra Sydney Doran’s approach is shaped by studies at the  University of New South Wales College of Fine Arts.

The driving creative forces behind Doran’s work are interdisciplinary ideas from science, mathematics, language, history, society, and culture of contemporary theories of aesthetics.

Doran is now currently expanding his portfolio of achievements with exhibitions of conceptually based drawings, working on private commissions and some private tutoring of high school and university students.

 

WHAT’S A FUGUE?

 

 WHAT THE FUGUE?

The English language word fugue traces back to the 16th century where it was taken from the French language word fugue also known as  Italian and Latin, Fuga. The origins of the words relate the ideas to both fugereto- flee and fugatochase.

A fugue ( FEWG) in the music world, is a contrapuntal compositional technique meaning the use of two or more voices or instruments.  A musical theme develops from imitation or repetition at the different melodic pitch which recurs frequently in the course of the musical score progression.

In this sense, a fugue is a  stylistic approach to arrangements, rather than a formal fixed structure.

With the decline of sophisticated ornamental art styles at the end of the baroque movement, the musical fugue lost its role to changing audience taste,  finally giving way to the more popular sonata form performed by the symphony orchestra.

 

 

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