<p>This research brings attention to the ‘obsolescence of periodization’ (Hoptman, 2014, p.
13), a phrase applied to some contemporary painters who do not consider themselves
restricted to a painting style or period. Rather, these artists acknowledge influences
from a variety of periods. Research produced for this study acknowledges the influence
on my practice of seemingly diverse fields of painting and performative art: The
Sublime, Expressionism, and Relationality.</p> <p>The research is focused on affect and sensory-emotive transference, originating from
my encounters with land. Affect is synaesthetic, implying a participation of the senses
in each other (Massumi, 1995, p. 96). Embodiment of sensory-emotive content is
examined in the well-researched fields of Sublime painting and Expressionist painting. I
also question whether my research focus, emphasising human reciprocity with land,
extends to the ‘contested critical terrain of relational art’ (Watson, 2015, p. 151).</p>
<p>Process, in this study, became a record of dialogue between the activity of land and the
activity of painting, whereby ‘feelings were seen to emerge out of sensory immersion’
(Kirk, 2014, p. 120). It consequently became less important to have finished works and
more important to have active readings of the dialogue formed with the land through art
practice. While including painting and drawing, process expanded my practice to also
include digital video, sculpture, installation and performance drawing, in a broad range
of art activities termed relationscapes.</p>