The questions listed below, and included in the week 7 tab, I hope to use and fill out to determine the best approach to take. These will be filled out on an external document.

To start i am going to go back to the resources i have already have identified as relevant to this project in some capacity from 304 or 390 to assess whether they can apply to this assignment too.

I hope this gives me more direction to garner other sources as well.

Google docs will allow me to table and note take each source as well as serve as the program where I will write my draft paragraphs.

The research question will now be:

What are visual techniques and processes that have been adopted by [insert specific medium here] to represent the unreliability of memory?

I am going to insert "figurative painting" into the medium section as I believe it will provide a good amount of resources without being to narrow .

From there I sorted them into where I would address them in my paragraph structures.

These sources were obtained through the UOW library, past research for my 390 subject as well as from google scholar.

Body 1: Distortion 

Looking into the visual techniques that distort the elements within an art work composition - this is achieved mostly through blurring and fragmenting components of the image to perpetuate ambiguity. 

Sources that apply: 

• Unreliable Witness Article about Luc Tuymans (artist example)

• Links to Robertson and McDaniel (theoretical underpinnings)

• Flint’s Painting Memory (theoretical underpinning) 

• Gerhard Richter (artist example)

• Daniel Green (artist example)

• Sylivia Radford (artist example)

Body 2: Erasure

Looking into the artist practice of eliminating or blocking out ephemera and figures from the compositions - bolsters audience engagement with the theme of memory to be more collective than personal.  

Sources that apply:

• Ekube (artist example) 

• Sophie Pearson (artist example) 

• Link to Robertson and McDaniel (theoretical underpinning) 

• Link to Gibbons (theoretical underpinning)

• Sylvia Radford (artist example)

• Tate Reference on Erasure (contextual evidence)

Body 3: Filtering and Fabrication

Looking into how figurative painters adopt layering, transparency or  re-ordered imagery to perpetuate a particular narrative or perspective of the composition. 

Sources that apply:

• Robertson and McDaniels (theoretical underpinning) 

• Guardian article 

• Daniel Green (artist example)

• Sylvia Radford (artist example) 

• Alex Routlette (artist example)

• MAFA Research blog 

• Flint’s Painting Memory (theoretical underpinning) 

Conclusion: addressing the critical gap - what can be added or what I can add to the conversation.

I went back and edited multiple times WITHOUT any use of any AI.

After the writing and editing was completed:

Just to confirm my assignment was on the right track and before submission I used ChatGPT once to make sure what I had written conformed to the strucutre and expectations associated with a contextual review.

I used this prompt: Is this considered good for a contextual review?

The above image was its response and I edited my own work accordingly in reference to the feedback.

Google search proved more effective in sourcing contextual artist examples than the library resource did, giving me more insight into the actual practices and perceptions of contemporary artists.

This approach was completed for all the paragraphs of this assignment.

I used this time to ensure all my intext referencing was also correct.