In reflection of the lecture given by Spencer Roberts on affect theory, I need to spend some time researching the works of Clement Greenberg, and try to apply it in my current study of the narratives of class culture and taste.
The interplay between subject and form is something to be explored, to switch the kitsch with the high art basis of some of my current old Masters paintings. The object can be taken out of context in order to make the kitsch become the form. The question is how can an object be taken out of context such a way I can paint kitsch?
I think the answer to this is for me to put less into my paintings.
I will continue to use the original old Masters paintings, but then I need to decode it further, then take abstract that the that can be connected to contemporary life. For example, a plastic bag? A shread of garment, a small cutting piece of curtain drapery?
Having thought about this concept of abstraction, and relating it to the works of the old Masters, such as Verrmeer, Rembrandt or Holbein, etc., I've decided to think about returning to the starting point of our analysis, and the work of Grayson Perry.
However instead of using a Rakes Progress as a series of reference I am thinking of William Hogarth's "Marriage à la Mode", which is a rich description of the upper-class during the 18th-century, and links nicely with Perry's original work that started this piece of activity off.
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