| dc.description.abstract | This exegesis develops and applies strategies for how my practice emerging out of the
tradition of graffiti in contemporary Australia can maintain its criticality in a gallery
context crossing over from the street to mainstream Visual Art practice. This exegesis
gives an account of graffiti as a criminal act deliberating the implications of the
aesthetics and the intrinsic principal of graffiti being corrupted by the mainstream.
The exegesis gives an analysis of graffiti as a skill different to art making, and looks
at the cultural background of the marginal graffiti practitioner.
In this investigation, the aim is to assess the corrupters of graffiti that are embedded in
laneways, media, industrialization and the gallery. In this exegesis, I attempt to
defend transgressing from graffiti into the gallery as a better option of losing
criticality, to gain indiscretion in my practice. This study considers the effect of
laneways, describing how they exclude graffiti by usurping public space from the
marginal, and how media reproductive capabilities can be deceptive in the
commodification of graffiti aesthetics through industrialized art and design.
The purpose of research into forms of corruption in graffiti is to create a range of
counter strategies that utilize a historical resistance and subvert the supposed rules
and terms of graffiti. Using the proposition of Australian Bushmen artists of the
Heidelberg School ‘9 by 5’ impressionist exhibition format informs my practice of
making work that is cheaper, quicker and less elitist.
Utilizing techniques associated with the critical reception of the ‘9 by 5’ exhibition
such as the loose unfinished look of their paintings, provides a method of how to
examine ways to connect Visual Art and graffiti that maintain an authentic, less
incriminating perception of graffiti to be displayed. The proposed new methodology
uses graffiti’s form in context of it’s aesthetics with those of outmoded visual art
practices such as, ceramics and watercolours, combined with contemporary forms of graffiti subjects in the landscape. | |
