Philosophies and Influences
In 2001 under the guidance of tutor
Mike Baker, Paula fell in love with the action painting methods
of American abstract expressionist, Jackson Pollock. It tapped
into the expression of the inner psychological processes –
theory already covered by previous study in behavioural sciences.
Paula used this method the same year in ‘Letter
to Whitu’ where she spoke out on social injustices
such as racism issues concerning the colonisation of New Zealand
and commercialisation of Maori culture. In Sensory
Data – Paula’s first solo exhibition in March
2004; she employed the same action painting methods involving
automatism in a visual diary format. A highly tactile series,
it incorporated layer upon layer of paint and organic matter
to express the psychological processes that are a reoccurring
theme in Paula’s work.
In an NMIT seminar with tutor Catharine
Hodson, Paula was taught a traditional oil painting method used
by the 17th century Dutch artist, Vermeer. This was a turning
point in the way Paula interpreted light and depth within her
paintings, adding to her fascination with producing works of
a realistic nature - such as in Orange
Roughy – 2002. This is a method that Paula would like
to explore in the future.
In 2002, tutor Errol Shaw further
expanded the horizons in painting to include the Readymade
in modern art as foundered by Marcel du Champ. This was a medium
that Paula embraced whole-heartedly as it gave more expansive
scope to her art making - illuminating the limitations of a
2D surface. It incorporated too, her increasing fascination
for concept predetermining the medium and the live expression
of art theory.
Also in 2002, a drawing and design
brief by tutor Mike Baker introduced installation performance
and environmental art to Paula’s repertoire. This broke
the boundaries on exactly art was – the painted or drawn
line was no longer confined to a stationary image or object.
Digital film and movement was used extensively to assist other
2D work in installations. Paula also discovered that the use
of her body in her works (such as action painting) freed up
the creative instincts activated only by the body and mind connection.
A video made of Paula wearing her wedding dress
on a stormy NZ West Coast beach in April 2002, became the basis
of a series of works exploring some women’s issues. The
experiential properties of making the video activated memories
of her upbringing concerning values instilled in young girls
regarding their self-image and role expectations in life. This
fed the momentum of her work focus for the next two years, enabling
her to incorporate a strong theory base and the use of other
3D medium to express these ideas.
In her 2003 graduation exhibition,
the Naughty
Girl installation was the culmination of these valuable
preceding discoveries. British artist, Tracey Emin was a main
influence in the boldness of these works. Paula was now producing
work in which she desired to speak the truth of some women’s
experience of patriarchal influence, and other topics not easily
discussed in social circles – despite the advances made
in the equality of men and women. With a strong theory base
and a deep ‘Freudian’ psychological component, she
manipulated varied objects and materials to express her concept.
Her diary quilt is a theme she still includes in more recent
works.
