painting beside Painting itself


Material Information

painting beside Painting itself
Physical Description:
Project in lieu of thesis
Sapio, Nathan
College of Fine Arts, University of Florida
Place of Publication:
Gainesville, Fla.
Publication Date:


In the body of work that constitutes painting beside Painting itself, and through the work and writings that make up the project’s preceding research, I have developed processes and a studio practice that embrace the richness and plurality of Painting, embody the idea of ontological slippage in Painting, and utilize transitivity as a strategy for the construction of meaning. This project report will address these theoretical ideas as products of my research, concurrent with the development of my painting practice. As the basis of such ideas, and at the center of this project, is an open question that regards Painting as an idea in-and-of itself. I have found Painting to be the kind of idea that occupies a place in the mind beyond the rational, the kind that has room in it for the incommensurate: profound experience and mere physical reality, a visual object and a rich synthesis and instantiation of thought, image, material, and process. Painting is ineffable, changing, and yet concrete. In many ways this project and my practice is an attempt to understand Painting, the “thing beyond”, through painting. It has become clear through the development of my research that paint is both the medium of the question and answer, or rather, that such a theoretical dialogue is not separate from, nor necessarily a precursor to, the development of a painting practice. Instead, I have found that self-awareness of the theoretical and philosophical assumptions made in the midst of a painting practice, and of one’s larger conception of Painting itself, has been an essential element of growth and of gaining perspective. An abbreviated reflection on the developmental stages of this project demonstrates the manner in which self-awareness became a catalyst for expansion in my painting practice, and was the impetus that eventually made the ideas of plurality and slippage an explicit part of the work’s content.
General Note:
Painting and Drawing terminal project

Record Information

Source Institution:
University of Florida Institutional Repository
Holding Location:
University of Florida
Rights Management:
All rights reserved by the source institution and holding location.
System ID: