Artist Colin Rosewell



October 31 - November 14, 2013. Chrissey Cotter Gallery, Camperdown, Sydney. NSW.


In acknowledgment of media theorist Marshall McLuhan's claim that all technologies are extensions of the human body and central nervous system, 'InCARnations' recognises the potential in contemporary technologies to augment and enhance human sensory perception and awareness. Or more specifically, the ways in which electron microscopes and radio telescopes greatly enhance natural vision. With this in mind, found images of microscopy and cosmic imaging, along with photographs of the human body, provide resource for the creation of complex digital images as prototypes for paintings. A methodology in which the experience of both digital and traditional media are conflated and rendered to form a single exhibited surface. Central to this process, is the idea of sexual energy and aggression  transformed as fuel for technological invention and creativity, or the conservation, transmutation and eventual deployment of such energy (entropy) within the creative act. Ultimately, images of the infinite and the infinitesimal inform the cosmic body as 'chaos incarnate'. A sexually charged, self-learning and self-organising conscious organism continually evolving within an infinitely expanding universe.

Incestuous Trajectories: Expanded

February 15 - March 3, 2012. The University Gallery, The University of Newcastle, NSW.

Developed for Rosewell's PhD candidature, 'Poetic Remediation: Incestuous Trajectories' explored the remedial and incestuous relationship between traditional and digital media. His artistic practice involves the production of digital images and their eventual transcription in paint. Often using found anatomical images and human autopsy photographs, along with purpose taken digital photographs of his own body, these images then go on to provide the resources for the creation of complex composite digital images. Through such a process, the body of the artist is considered centralised as the agent through which information is filtered and images are made. The final paintings seek to conflate, into a single creative methodology, the poetic potential and working experiences inherent to the production of digital images and paintings. Rosewell refers to this creative process as 'poetic remediation'.Exhibited with the addition of several new works, 'Incestuous Trajectories: Expanded' continues to explore the ongoing relationship and creative potential existing between painting and digital imaging.

Poetic Remediation: Incestuous Trajectories
(PhD Exhibition)

October 12 - November 30, 2010. Campus Library, Central Coast Campus, Ourimbah, NSW.
June 30 -July 18, 2010. Watt Space, University House, Cnr King and Auckland Streets, Newcastle, NSW.


Informed by the theory of 'remediation' (Jay David Bolter and Richard Grusin, 1999), a model with which to describe the manner in which older analogue media formations are refashioned and re-presented within the context of new media technologies, Poetic Remediation: Incestuous Trajectories explores the intersection between digital imaging and painting. The theory of remediation offers two descriptive tools; hypermediacy, in which the medium is made explicitly apparent, and transparent immediacy, where the goal is to make the medium disappear in order to bring experience as close as possible to a suspension of disbelief through the concealment of technology. With this in mind, the artworks seek to recognise the potential in 'transparent immediacy' for facilitating transcendence in hybrid forms of painting through the tacit application of reproductive technologies. Consequently, traditional and new media formations are modelled as continuously informing each other in an oscillating and reciprocal exchange and as part of an ongoing quest for 'poetic immediacy'.

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