Painting in extreme environments

ABSTRACT

The way in which sound and vision work together within the context of art has been explored through experiments and public exhibitions of paintings in the extreme sonic environments of anechoic and reverberation chambers. The work was in the form of individual paintings in the anechoic chambers and painted panoramas in the reverberation rooms and these were accompanied by surround soundscapes all relating to representations of our contemporary environment. The studies support the assertion that the sound within painting installations can change the way in which one experiences the visual art. The overall sensory environment significantly affects the way in which a ‘viewer’ interprets and responds to the work and expands the scope of the painting.

KEYWORDS:

• Painting
• panorama
• sound
• anechoic
• reverberation
• expanded

Acknowledgements

With thanks to The National Physical Laboratory, EPSRC, The University of Edinburgh and The Glasgow School of Art. Also to Professor Andrew Patrizio, Professor Neil Mulholland and Professor Clive Greated.

Disclosure statement

No potential conflict of interest was reported by the author.

Notes on contributor

Dr Marianne Greated is Lecturer in Painting and Printmaking at The Glasgow School of Art. She has exhibited extensively in the UK, Denmark, Greece, Belarus and India, with exhibitions in Venkatappa Gallery Bangalore, Palace of Culture Minsk, Goulandris Museum Athens and Talbot Rice Gallery Edinburgh. Her work explores contemporary painting, in particular expanded field, relationships between sound, vision and the representations of the environment.

ORCID

Marianne Greated http://orcid.org/0000-0002-5135-3944