Mark Titmarsh is a visual artist working in painting, video and writing. He has an international reputation as an experimental and award-winning filmmaker in Europe and the Americas, while in Australia he is a significant contributor to the development of the Expanded Painting debate in the visual arts.
Since the 1980s, Mark has had influential involvement with several publications and organisations: On the Beach magazine, Art Hotline, Loose Projects Gallery, WAAR (Working Artists Against Ralph) and PEAASS (Promoting Electoral Awareness of the Artist's Status in Society), Group 3 three, Australian Art Collector magazine, the Super 8 Film Group, Metaphysical TV and the New Image Research program at the Australian Film Commission.
At UTS Mark lectures in the Interdisciplinary Studies program on plastic sustainability, event design, street art, and urban design. He puts these principles into action in an annual Global Studio that takes place on the island of Kefalonia in Greece.
His paintings and filmwork are held in public collections across Australia and in private collections in Europe and the US.
Project Coordinator, Designing out Crime Centre, UTS
Can supervise: YES
Contemporary Art, Painting, Installation, Video, Hybrid Art Forms, Digital Media, Post Aesthetics, Post Modernism, Post Media Art, Heidegger, Heidegger and Art, Conceptual Art, Neo Conceptualism, Conceptual Painting, Expanded Painting, Art and Philosopy, Art History, Art Theory, Cultural Studies.
Image Making, Drawing, Painting, Collage, Photocopy Art, Video, Art and Design Theory
The relevance of painting has been questioned many times over the last century, by the arrival of photography, installation art and digital technologies. But rather than accept the death of painting, Mark Titmarsh traces a paradoxical interface between this art form and its opposing forces to define a new practice known as 'expanded painting' giving the term historical context, theoretical structure and an important place in contemporary practice. As the formal boundaries tumble, the being of painting expands to become a kind of total art incorporating all other media including sculpture, video and performance.
Painting is considered from three different perspectives: ethnology, art theory and ontology. From an ethnological point of view, painting is one of any number of activities that takes place within a culture. In art theory terms, painting is understood to produce objects of interest for humanities disciplines. Yet painting as a medium often challenges both its object and image status, 'expanding' and creating hybrid works between painting, objects, screen media and text. Ontologically, painting is understood as an object of aesthetic discourse that in turn reflects historical states of being. Thus, Expanded Painting delivers a new kind of saying, a post-aesthetic discourse that is attuned to an uncanny tension between the presence and absence of painting.
In our current environment the digital screen has become part of the daily rhythm of work and play. Yet as
those digital screens become more refined and flatter they also approach the form and presence of a painted
surface. A painting is also a screen, an image bounded by an edge, portable and primarily visual. Both kinds
of screens have native temporal designs that are in productive tension with each other. By fracking into their
differential relationship images are shown to metabolize time, arriving out of time for the sake of an unsustainable
time, concealing an end of time, hidden beneath a fantastic time beyond time. This article will
develop an alternative ontology of the image through interlocked notions of time, temporality, colour and
presence based on contemporary painting, the plastic arts and an uncertain relation to the visual, brought on
by information communication technologies. Using the ideas of Martin Heidegger, Richard Dienst and
Bernard Stiegler it will be shown that by deconstructing everyday notions of time there is a fractal proliferation
of temporal modes that releases an explosive plasticity of visual presence with a hue and density held
somewhere between the agency of light and the plastic materiality of the screen.
The current understanding of the expanded image is based on visual experiences provided by information turbulence in contemporary convergent media. We are therefore challenged to rethink everything we have come to understand about visuality, including the very physics of light and the physiology of the human eye.
This essay will develop an alternative philosophy of visual perception based on hints given by Martin Heidegger and partially developed by Maurice Merleau-Ponty. It involves devising a new language for seeing that looks into the light of the technological world as a way of apprehending the self-luminous. This results in the creation of an ontological sight capable of looking beyond the objectification of what is, revealing the way humans come into contact with other beings, both natural and technological.
Exploring the ideas of Herbert Damish and Jacques Taminiaux, this essay will show that we can no longer cling to contemporary notions of sight that say we have, on the one hand, things identical to themselves—things that give themselves to sight—and on the other hand, vision that is at first empty and that then opens itself to the visible. These ideas somewhat deconstructed by Merleau-Ponty will be shown as remnants passed down to us from the ancients, who developed a primary language to describe the accuracy of looking and ideal representations of sight.
Alternatively, another kind of looking, latent in our reductive techno-vision, will be invoked such that the so-called primacy of perception will be made secondary to the opening of presence. Ultimately, this results in an ontological tension between being looked at by the world, and gazing at things therein. This results in a chiastic overlapping of active and passive modes of being that goes beyond the completion of an optical process.
Titmarsh, M 2015, 'In the Light of David Batchelor's Bookson Colour: Chromophobia and TheLuminous and the Grey', Architectural Theory Review, vol. 19, no. 2, pp. 263-266.View/Download from: UTS OPUS or Publisher's site
It is, I believe, no exaggeration to say that, in the
West, since Antiquity, colour has been systematically
marginalised, reviled, diminished, and
So begins David Batchelor's reboot of how we
think, write, and experience colour today.
As Batchelor puts it, 'This loathing of colour,
this fear of corruption through colour, needs a
name: chromophobia'.2 Chromophobia, first
published in 2000 and since republished in
eight languages, has given the word global
idiomatic status. It has acquired general usage in
the art world, as well as spilling over into online
dictionaries, where it carries a sense of medical
gravitas, suggesting a new type of psychological
condition—the fear of colour, akin to other
phobias such as the fear of crowds or heights.
This paper argues that the enduring mystery of colour, in particular its elemental
effusiveness, has been tamed and managed by notions of good
taste and chic that equate cultural maturity with a limited palette. Yet colour
in all its post industrial forms continues to break free of constraints in
an audacious display of autopoiesis. The science of colour based on image,
mimesis, and the physiology of the eye has missed the phenomenon of colour
altogether because it takes place at the incalculable level of shine and
radiance. Ontologically colour makes things manifest by revealing them in
their unique presence rather than merely facilitating communication, representation
or spectacle. Before colour is seen, before light can facilitate a
look, colour looks back in such a way that looking and seeing are provoked.
Using Thierry de Duve, David Batchelor and Martin Heidegger it will
be shown that these ways of being with colour are extended by a formal
evolution in painting whereby expanded painting addresses everything in
the everyday world that carries colour from data screens to plastic utensils
and even paint itself. Ultimately, the medium of painting however deconstructed
or expanded, has become the entity to 'whom' the work of colour
a debate with the co-author Cameron Tonkinwise of Carnegie Mellon University, USA, as to the ontological acumen of art versus design.
Titmarsh, M 2012, 'Thinking the Phenomenology of Image through the Poetics of Contemporary Expanded Painting', Limes:Borderland Studies, vol. 5, no. 1, pp. 42-53.
This special issue of Limes Magazine is made from selected papers from the Visuality 2011 conference.
A republication of the essay cowritten with Todd Robinson for the exhibiton, Public Fitting, discussing the crossover of art and fashion via painting.
Titmarsh, M 2005, '" Now Voyagers"', Photofiel, vol. 75, no. 75 Spring 2005, pp. 32-33.
Titmarsh, M 2003, 'Time And Tide: Decadal Shifts in Australian Contemporary Art', Art Monthly Australia, vol. 160, pp. 16-19.
Titmarsh, M 2013, 'Expanded Painting + Urban Redesign = Art in a Post Medium Condition' in Efe Duyan (ed), Urban Life and Contemporary Arts, DAKAM Publishing, Istanbul, pp. 55-63.
Conference Proceedings of Conference of same name, focusing on contemporary art in the urban environment. My chapter looked at the confluence of expanded painting and urban intervention through street art and pop up galleries
A survey of activities of an Artist Run Initiative Gallery, Loose Projects, that operated in the CBD between 2006 and 2007. Contains visual material and a catalogue essay from each exhibition. Both editors contributed an essay that discussed issues of collaboration, curation, art world politics and aesthetic concerns in a contemporary art practice
A catalogue essay co written by the three contributing artists in the exhibition
Titmarsh, M 2008, 'Thinking Heidegger's post aesthetics through the expanded field of painting.' in Palmer, C & Torevell, D (eds), The Turn to Aesthetics. An Interdisciplinary Exchange of Ideas in Applied and Philosophical Aestheti, Liverpool Hope University Press, UK, pp. 168-179.View/Download from: UTS OPUS
At a certain point in the late 20lh century the word "aesthetics" withdrew from active service in the theoretical vocabulary of art. It had become both too universal and too particular. Too universal in that everything had become aesthetic, sport, management, theology, and so nothing was more aesthetic than anything else, not even art. Too particular in that aesthetics was unable to confront the present situation of avant-garde art as it unfolded during modernism and postmodernism. Hence aesthetics was replaced by new disciplines for thinking about art: critical theory, art theory, cultural theory, the philosophy of art and so on. The struggle to find the proper name and form for thinking about art goes on.
Titmarsh, M 2008, 'Sheer Aesthetics - a closing comment on the Turn to Aesthetics Conference' in Palmer, C & Torevell, D (eds), The Turn to Aesthetics. An Interdisciplinary Exchange of Ideas in Applied and Philosophical Aestheti, Liverpool Hope University Press, UK, pp. 259-261.
Titmarsh, M 2018, 'What do images want? Towards an Economy of the Image in the Age of Digital Envisioning', Proceedings of the 5th Biennial Transdisciplinary Imaging Conference 2018, TransImage 2018, Edinburgh College of Art and the Centre for Design Informatics., Edinburgh, Scotland, pp. 14-29.View/Download from: UTS OPUS or Publisher's site
The technology of our private portable screens has silently engendered a new visual presence, a technical image, that reaches out to all other kinds of screens, including the traditional screen of painting. The way an image appears to us through digital formats, is more aptly described as an envisioning, facilitated by light emitting diodes that irradiate the eye, while at the same time beckoning touch through an interactive surface.Villem Flusser claims that these 'technical images' are technically not images, but symptoms of electronic processes driven by a convergence of visual observation, conceptual categorisation and computing touch. Consequently the technical image is not like anything that has preceded it, from the cave to the cinema, since envisioning is facilitated by a swarm of electronic points in a state of decay, closer to a yawning emptiness than a physical presence. In this paper I will develop an economy of the contemporary image by way of Flusser and Friedrich Kittler, arguing that technical images have moved out beyond all previous means for understanding images, cutting aesthetics, philosophy and contemporary art off from the previous age of images and their productive or communicative projects.
As such the contemporary image is caught somewhere between being and non-being. The image as semblance is less than a being because if semblance were to fully resemble its model then it would no longer be an image but that indicated being. At the same time any kind of 'appearing as non being' given by the image has its own kind of being that cuts across the division of beingnon- being. The result, by way of Heidegger is that technical images bring all visualisation into an essential closeness, a deseverance, that does not make images more intimate or understood, on the contrary, images become conceptually and phenomenally distant like looking glasses, equipment to be looked 'through' but not 'at'. By treating images in this way, as optical holes inste...
Titmarsh, M 2016, 'Retrieval Life in Defrag'd Time', to be published in Ubiquity: The Journal of Pervasive Media in 2017, The Fourth International Transdisciplinary Imaging Conference 'The Atemporal Image', Plymouth University, Plymouth, UK.
In our current environment the digital screen has become part of the daily rhythm of work and play. Yet as those digital screens become more refined and flatter they also approach the form and presence of a painted surface. A painting is also a screen, an image bounded by an edge, portable and primarily visual. Both kinds of screens have native temporal designs that are in productive tension with each other. By fracking into their differential relationship images are shown to metabolise time, arriving out of time for the sake of an unsustainable time, concealing an end of time, hidden beneath a fantastic time beyond time.
This article will develop an alternative ontology of the image through interlocked notions of time, temporality, colour and presence based on contemporary painting, the plastic arts and an uncertain relation to the visual, brought on by information communication technologies. Using the ideas of Martin Heidegger, Richard Dienst and Bernard Stiegler it will be shown that by deconstructing everyday notions of time there is a fractal proliferation of temporal modes that releases an explosive plasticity of visual presence with a hue and density held somewhere between the agency of light and the plastic materiality of the screen.
Titmarsh, M 2013, 'Everything the Artists Does and Still Does Art', The 21st Century Artist, Artspace, Woolloomooloo, Sydney.
Over the course of this conference the speakers and discussion groups addressed the questions: What is art practice in the 21st century? What could it, should it, will it become? Who are the artists? Where do they work? What do they do? What experiences, desires and expectations characterise the life of the 21st century artist?
Titmarsh, M 2012, 'The autopoiesis of colour in the age of machinic shine', The Second International Conference on Transdisciplinary Imaging at the Intersections between Art, Science and Culture, Melbourne.
Interference strategies for art The notion of âInterferenceâ is posed here as an antagonism between production and seduction, as a redirection of affect, or as an untapped potential for repositioning artistic critique. Maybe art doesnât have to work as a wave tha displaces or reinforces the standardized protocols of data/messages, but can instead function as a kind of signal that disrupts and challenges perceptions. âInterferenceâ can stand as a mediating incantation that might create a layer between the constructed image of the âeverydayâ given to us by science, technological social networks and the means of its construction. The conference will explores areas related to Painting, Drawing, Media Art, Performance, Film, Video, Photography, Computer Visualization, Bio Art, Real-time imaging, Intelligent Systems, Image Science.
Titmarsh, M 2012, 'Expanded Painting and the Phenomenology of Colour', together<>apart, Sydney.
The conference highlights major themes raised by the 2012 Sydney Biennale, focussing in particular on how networks of artists, curators, critics, musuems and the public structure art. Asking further, what are the stakes, outcomes and tensions of collaborations and partnerships between artists and art institutions.
Titmarsh, M 2012, 'The Autopoiesis of Colour in the Age of Machinic Shine', The 2nd International Transdisciplinary Imaging Conference Proceedings, International Conference on Transdisciplinary Imaging at the Intersections of Art, Science and Culture, Transdisciplinary Imaging Conference 2012, Sydney, Australia in association with UNSW COFA, Australia, pp. 271-282.View/Download from: UTS OPUS
This paper begins by arguing that the enduring mystery of colour has led to an unspoken prejudice against chromatic excessiveness. Yet colour continues to break free of its constraints, it bursts out of the earth and sky in an audacious display of autopoiesis, tempting artists to reveal its power. Colour rather than being seen and calculated, shines out, shimmers and reveals a world in much the same way that thinking does.
Titmarsh, M 2011, 'Public Fitting', SEAM 2011, SEAM 2011, Spacing Movements Outside In, Critical Path, Critical Path, Rushcutter Bay, Sydney.
This was a performance presentation of Public Fitting at a performance foucssed Conference, with the work and discussion afterwords documented on the Conference Video
Titmarsh, M 2010, 'Painting's Trans-Formations: Towards an Ontological Aesthetics of an Expanded Medium', Tradition and Transformation, Art Association of Australia and New Zealand (AAANZ), University of Adelaide, University of South Australia and Art Gallery of South Australia.
This paper looked at the new ontological paradigm of contemporary art, that evokes another discourse, a 'post aesthetics' that overcomes the subjective bias of modern philosophical aesthetics in favour of a primary relationship to things and their mode of presence in the world. As a result, contemporary expanded painting is shown to be a radical revision of art , a moment of ontological 'presencing' favouring spatial environments and temporal events that reveal 'what is' and 'what matters' in a contemporary techno-scientific age.
Titmarsh, M & Tonkinwise, C 2010, '"Art versus Design: Saving Power versus Enframing, or A Thing of the Past versus World Making"', 21st Century Heidegger Conference, University College Dublin, Ireland.
Dialogue between two paper presenters, Mark Titmarsh and Cameron Tonkinwise concerning the ontological importance of art as against design.
Titmarsh, M 2010, 'Thinking Morphe and Phusis through the Aesthetics of Expanded Painting', Capturing Metamorphosis: Reconsidering Ancient Media in a Post Medium Condition, Allard Pierson Museum, University of Amsterdam, Holland.
The paper took an overview of painting's morphology by way of Heidegger's discussion of the Greek term phusis, a self unfolding emergence, that drives all matter, ranging from the earth itself through to the material element of the artwork in the moment of its making. By focusing on phusis, and related terms morphe and poesis, an understanding of 'original aesthetics' (Greek thinking on painting and sculpture) can be developed for comparison with contemporary art in its 'post-medium condition' (Krauss).
Titmarsh, M 2010, 'Contemporary Hybrid Painting: The Aesthetics of a Post-Medium Condition,', New Imaging: Transdisciplinary strategies for art beyond the new media, International Conference on Transdisciplinary Imaging at the Intersections between Art, Science and Culture, Transdisciplinary Image Conference, Sydney, pp. 132-139.View/Download from: UTS OPUS
This paper considers the new ontological paradigm of contemporary art that evokes another discourse, a 'post aesthetics' that overcomes the subjective bias of modern philosophical aesthetics in favour of a primary relationship to things and their mode of presence in the world. As a result, contemporary expanded painting is shown to be a radical revision of art , a moment of ontological 'presencing' favouring spatial environments and temporal events that reveal 'what is' and 'what matters' in a contemporary techno-scientific age.
Titmarsh, M 2018, 'Northwest Passage 2', Zombie Painting, Stacks Projects Gallery.
A perspex sculpture featuring transparent and different coloured sides on each of 6 faces of a distorted box.
Titmarsh, M 2018, 'Adam's r.y.b. (2017), My friends electric (2017), Northwest Passage (2015), Cyclonochrome (2018), Chromopedia (2018), In-A-Gadda-Da-Vida (2018), all universe in all time (2015 - 2018) Parts 1 - 86.', LIght Touch, Gallery 9, Darlinghurst, Sydney.
There are 2 rooms, in the first room there are 6 abstract paintings and a wall that has been covered with metallic green paper, in the second room there are 86 collages made from dust jackets and various images from the world of print media.
Titmarsh, M 2015, 'Painting the town Red', Modern Art Projects, Blue Mountains, Australia, pp. 1-3.
An essay to accompany a three channel video installation entitled Painting Town
A survey of the historical phenomenon of visual artists who also write and publish on the context of their own contemporary practice.
Titmarsh, M 2013, 'Walk the Talk - The Politics of Artists Who Write - Part 2', Art Montly Australia Ltd, Canberra, Australia, pp. 44-46.
A detailed consideration of the work of selected artists who make visual work and publish texts about the context of their own contemporary practice with implications for politics and aesthetics.
Titmarsh, M 2013, 'Titmarsh 3 Bespoke Painting (pink), Bespoke Painting (blue), Public Fitting (video)', Vortex Wearable Art Prize, 2013, Stonevilla Studio Gallery, Stonevilla, 19 Railway Rd, Sydenham, Sydney.View/Download from: UTS OPUS
1. Bespoke Painting (pink), 2011, acrylic on linen dress 2. Bespoke Painting (blue), 2011, acrylic on linen dress 3. Public Fitting, 2011, dvd, 18 mins
Titmarsh, M 2012, 'Black Rainbow', Mark Titmarsh and Substation Gallery, Melbourne.
A catalogue with an essay by Mark Titmarsh and illustrations to accompany Black Rainbow exhibition which was part of SUB12 at Substation Gallery in 2012
Titmarsh, M 2012, 'Re-extended Painting', Mark Titmarsh and MOP Gallery, Sydney.
A booklet with a catalogue essay cowritten by Mark Titmarsh accompanying a group exhibition at MOP also entitled Re-extended Painting
Titmarsh, M 2011, 'Open House 2011', Curator, Pop up gallery in Foley Street Darlinghurst.
Open House 2011, is a continuation of the Open House 2010 event. UTS Design Lab practitioners from fashion, visual communication and industrial design will join forces and create a one night pop-up gallery in Darlinghurst. The 'laneway gallery experience' has been taking over the Sydney's abandoned alleys and forgotten corners over the past few years and our event is a continuation on from this attempt to put the life back into Sydney city. There will be 5 separate interactive installations which work within the laneway space. They are all based on the surrounding area, inspired by the history and stories of Darlinghurst, drawing on the diversity and characters which make up this Sydney 'village.'
Collaborative project between Todd Robinson and Mark Titmarsh. Project featured live performance where paint was poured onto a series of garments worn by models. The outcomes of this art-fashion production-performance included a combination of garments, video, painting that combined to form a productive site specific infrastructure. The project undertook a practice based investigation into the intersections between art, fashion, painting and textiles within a performative context. The catalogue produced alongside the exhibition situated the project within a historical dialogue between between fields of fashion and art. In particular the project explored contemporary exchanges between fashion designers and visual artists through an innovative model of interdisciplinary art-fashion practice. This model of practice places significant emphasis on linking both the productive activity of painting/clothes making and its presentation as a performative activity.
A solo performance involving the making of coloured things and coloured events that related to the actions of painting.
Titmarsh, M 2007, 'The Art Life'.
I was interviewed about my own painting and to discuss the idea of the death of painting
Titmarsh, M, 'North West Passage (2015), DXZ (2005), DSB (2005),DXQ (2005).', Lumosphere, Wayward Brewing, 1 Gehrig Lane, Annandale, Sydney, NSW..
Solo exhibitions of 4 paintings in the main space of Wayward Brewery public space
Titmarsh, M, 'Chromus (Green) 2016, Chromus (Orange) 2016, Chromoman, Performance, 2016.', Artists Playground, Galeries Victoria, George Street, Sydney, NSW.
An installation of slumped perspex hung from a glass canopy in Galeries Victoria and 2 performances.
Titmarsh, M, 'New Earth (Magenta), 2015, Chromophilia 2.1 (Orange), 2009', Made in Callan, Salon Callan, 44 Callan Street, Rozelle, NSW 2039.
A painting made from metallic vinyl on alumnium and a sculpture of slumped perspex
Titmarsh, M, 'New Earth (Magenta) 2015, etc', Paint 16, Artereal Gallery, 747 Darling Street, Rozelle, NSW 2039.
5 paintings made from metallic vinyl and foil, a sculpture of slumped perspex
Titmarsh, M, 'Chromoman 11, Performance, 2016', SEA(S), St George's Castle, Kefalonia, Greece.
A performance featuring the artist, several assistants and spray string, that took place at the entrance to the ruins of an ancient castle fortress.
Titmarsh, M, 'Painting Town (Red Green Blue), Video, 18 Channels, 4'30"', Vivid 2016, Galeries Victoria, George Street, Sydney, NSW 2001.
A video of paint pouring onto architectural models, displayed on 18 extra large format video monitors
Titmarsh, M, 'New earth (magenta minor), New earth (blue minor)', Plonk, Pop In Space, 72 Pyrmont Bridge Road, Camperdown, Sydney.
New Earth (magenta minor)
Metallic foil on canvas
400 x 500cm
New Earth (blue minor)
Metallic foil on canvas
300 x 400cm
Titmarsh, M, 'Light from Light, Parts 1, 2 and 3 (2016)', Grace Cossington Smith Art Award 2016, Grace Cossington Smith Galery, Wahroonga, Sydney.
3 abstract paintings forming a triptych, each acrylic and automotive polish on aluminum.
Titmarsh, M, '35 Summers (1988)', Scanlines, Logan Art Gallery, Brisbane, Qld.
A super 8 mm film made in 1988, comprising oringial footage shot by the filmmaker inter cut with excerpts from television and cinema resulting in a pseudo self portrait.
Titmarsh, M, 'Painting Town (Red)', Mapspace, Blue Mountains Cultural Centre, Katoomba.
A slow motion video of red paint pouring onto a white architectural model of a house.
Titmarsh, M, 'Plastination 2016', Foundation Park, The Rocks, Sydney.
4 installations designed by interdisciplinary design teams on the theme of plastic and sustainable urban environments
Titmarsh, M, 'Single Use Island 2016', Ionian Centre for Art and Culture.
Centering on the island of Kefalonia, we considered the future of the island with regard to the use and re-use of everyday plastic materials.
The exhibition began as an exploration of plastic, the story of it's creation and how it has come to be ubiquitous in the design of daily pactices. It includes looking at the use of plastic on the island for business and recreational purposes and noting in particular any dependence on the use of single-use disposable plastic commodities.
The works in this exhibition were aimed at raising consciousness of plastic usage, steering behaviour towards sustainable practices and potentially creating a working model for islands and island states to emulate.
Titmarsh, M, Lowry, S & Warner, G, 'OchrOmOchrOnOtOpOsOnicO', OchrOmOchrOnOtOpOsOnicO, ean Lowry, Mark Titmarsh and Gary Warner, UTS Gallery, Sydney.
ochromosonico is a generative collaboration between artists Sean Lowry, Mark Titmarsh and Gary Warner. Their first epic work, OchrOmOchrOnOtOpOsOnicO, is not a video in terms of usual expectations since image and sound were created independently and each played on its own technical hardware.
Titmarsh, M, 'Wet Paint (2017), Chromoman 12 (2017)', Wet Paint, Mark Titmarsh and Artspace, Artspace, Woolloomooloo, Sydney.
Featuring highly coloured and reflective substances, Wet Paint appropriates the floor and the walls of Artspace
as surrogate sites for the expansion and convergence of painting into all other disciplines. There is a subtle shift from an
exclusive focus on the look of the work to an interest in the poetics of production and how that leaves a trace above and
beyond the aesthetics of visual appearance.
Titmarsh, M, 'Light from Light', Light from Light, Mark Titmarsh and Knulp, Knulp Project Space.
An installation featuring slumped perspex, mirror balls and a wall covered in highly reflective magenta coloured metallic foil.
Titmarsh, M, 'New Earth (Blue) 2017', Sunshine Coast Art Prize 2017, Caloundra Regional Gallery, Caloundra, Queensland.
This work is a simulation of painting using adhesive metallic vinyl on aluminium.
Titmarsh, M, 'Northwest Passage (2) 2017', Woollahra Small Sculpture Prize 2017, Woollahra Council Chambers.
Acrylic, Acrylic glass and slumped acryllc
Titmarsh, M, 'Chromophiliac 2 (Fluro Pink) 2009 and Chromophiliac 2 (Violet) 2009', Sculptures in the Garden, Roseby Vineyard, Mudgee NSW.
Slumped Perspex approx 40 x 50 x6 0 cm
Titmarsh, M, 'New Earth (Magenta) 2015', Fishers Ghost Art Award 2017, Campbeltown Art Centre, Campbeltown, Sydney.
Adhesive metallic vinyl on Aluminium, 200 x 110 cm
Titmarsh, M, 'Julian Van Gogh (2017)', AirFair, AirSpace, Marrickville, Sydney.
digital print on archival paper from an original collage
Titmarsh, M, 'Expanded Painting', Volume 2017, Artspace, Sydney.
A page from my book Expanded Painting was sung by 2 experienced vocalists to the tune of a popular song.
Titmarsh, M, '35 Summers (1988)', Scanlines, Lake Macquarie City Art Gallery.
Experimental Super 8 mm film transferred to DVD
Titmarsh, M, 'Chromo-man and (Silly) String Theory', Intra-sections, Verge Gallery.
These exhibitions are located in the field of image making and expanded painting with a specific focus on the spatialisation of traditional craft based skills in the visual art disciplines of painting and drawing. The works question the nature of static imagery in an age of convergent media and multimodal practices.
The aesthetic premise of these works is that the artist or designer can you use any coloured thing to create work and is not restricted to traditional mark making tools like the pen, pencil, brush or even the virtual presentation of those devices on image making software like photoshop or illustrator. Furthermore in these two works performance is used as a time-based event in which the artist can become the surface on which colour is applied rather than the director of marks beyond his own body. As Stephen Melville (2001) argues ¿painting has no essence outside of history, gathering and dispersing itself at every moment¿, in this case dispersing away from brush and easel to gather around string and the body.
These works offer alternate models of practice that move beyond the traditional presumptions suggested by the apparatus of historical mark making devices. They engage an impetus subtly suggested by the digital era in which individuals are compelled to use more than one skill and any available device must also move across several technical boundaries. Intrasections was reviewed by Andrew Frost, Sydney Morning Herald (Saturday 31 August 2013) and by Leanne Richards, City News (5 September 2013).
Titmarsh, M, 'Turbulence', Elastic Creative San Francisco USA, San Francisco San Francisco Bay Guardian, San Francisco Bay Guardian.
Titmarsh, M, '35 summers', SynCity, d/Lux/MediaArts, ACFP.
Contemporary painting exhibition
Titmarsh, M, 'Electrofringe 2005', Playhouse Theatre Newcastle, Newcastle New Media and Arts Festival, Newcastle.
Titmarsh, M, 'D>Art.05', Sydney Opera House, DLux Media Arts, Sydney.
Digital artwork exhibition
Titmarsh, M, 'Don't Look Now', Mori Gallery, Scott Donovan, Sydney.
Experimental video art
Titmarsh, M, 'Exfoliate', Esa Jaske Gallery, Esa Jaske Gallery, SMH, Sydney.
Titmarsh, M, 'Hubcapdiamondstarhalo', Spacement Gallery, Spacement, Australian Art Collector.
Background - This work was included in the Figure it Out exhibition which coincided with The Figure in Question exhibition, focusing mainly on the human figure and draughtsman skills in contemporary painting. Contribution - My painting, "I know my fate" 1989, which came from the gallery's permanent collection, promoted an alternative view to the human form by showing it to be a construction made from various sources, rather than the result of accurate or documentary observation. Significance - This work demonstrates a certain postmodern moment in the 1980s when painting was seen as a place where any and all images could congregate in a data space composed of moments from art history and contemporary events. The value of this postmodern position is attested by the fact that other works from the series of paintings that generated "I know my fate" are held in most state gallery collections in Australia.
Titmarsh, M, 'The Super 8 Effect', Chauvel Cinema.
Titmarsh, M, 'Imitation of Life', SynCity, d/Lux/MediaArts, ACFP.
Titmarsh, M, 'This is the way Jack dies', SynCity, d/Lux/MediaArts, ACFP.
Titmarsh, M, '"Untitled " (2007)', Loose Ends, Loose Projects, Mori Gallery.
Group Show of Final Event at Loose Projects, paintings, photographs, videos, installations
Two person exhibition. My work featured a painting on aluminium and an installation consisting of a round sheet of glass on the floor on which rested, mirror balls and plastic water bottles
A 30 year overview of experimental screenworks that used sampling from various audio visual sources
Annual Audi Art Prize
Titmarsh, M, ''uncovering', 'harbouring', 'Moraine 4', and 'self unfolding'', Blueprints for a new Topiary, Metro Arts, Brisbane, Australian Art Collector Magazine, Issue 40 Apr 07, p322, Metro Arts, http://www.metroarts.com.au.View/Download from: UTS OPUS
An exhibition of three artists working in the area of expanded painting
Titmarsh, M, 'Deep Wallpaper', Festival Pocket Films- International Festival of Films made for the Mobile Phone, Forum des Images, Pocket Films Website, http://www.festivalpocketfilms.fr/, Real Time Magazine, Issue 80, Aug 2007.View/Download from: UTS OPUS
An international festival of works made for the mobile phone
A compilation of experimental super 8 films shown as part of Revel8 a special evening during Revelation: Perth Independent Film Festival
Titmarsh, M, 'Face to Face', Flora: Still Life moving Fast, Hazelhurst Regional Gallery, Hazelhurst Regional Gallery.
A re-examination of the still life genre as it has been interpreted by contemporary Australian artists
Titmarsh, M, 'citing nonsights, chromophilia, self unfolding, self unfolding 2, chromophilia 2, Untitled, biomorphs 1-5', 3-D Painting, Conny Dietzschold, Conny Dietzschold Gallery.View/Download from: UTS OPUS
An exhibition of Sydney artists exploring the object based nature of painting
An exhibition of works examining the material possibilities of colour in painting as it expands outwards to occupy space and time
Background SynCity was initiated by the dLux media arts organization on the occasion of their zs" Anniversary. I was approached as a practitioner, curator and founding member of the organisation to create and curate an event based on the recurrent theme of sampling that ran through Australian experimental film, video and digital media since the 1980s. Contribution The works in this exhibition established a common theme in contemporary Australian art that crossed discipline boundaries, painting. video, film, sound art and decadal trends to establish sampling as a dominant paradigm. "35 Summers" was presented as a founding work that initiated practices that came to be know as post modern appropriation in experimental art film, Significance The significance of this work is that it establishes a discourse around sampling that is not confined to any particular era and shows the practice to be ongoing. "35 Summers" acts significantly in an evolution ofexperimental work that has grown through ideas of quotation and appropriation into a contemporary taxonomy of mashup, bootlegging and machinima.
Titmarsh, M, 'Chromophilia', "Chromophilia", @ MOP Gallery, "Expandex" @Tin Sheds Gallery, Minimal Variety Form @ Conny Dietzschold Gallery, MOP Projects, Tin Sheds Gallery, Conny Dietzschold Gallery, all in Sydney, MOP Projects, Sydney, Tin Sheds Gallery, Sydney, Conny Dietzschold Gallery, Sydney.View/Download from: UTS OPUS
1. "Chromophilia" , @ MOP Gallery, A Solo exhibition of 8 works ranging from paintings to installations and objects and featuring a performance on the opening night. I wrote a catalogue essay for the show as well. 2."Expandex" @Tin Sheds Gallery, A Group exhibition of 4 works ranging from paintings to installations and objects and featuring a performance on the opening night. I co-wrote a catalogue essay for the show as well. 3. Minimal Variety Form @ Conny Dietzschold Gallery, A Group exhibition of 4 objects and featuring a performance on the opening night.
Titmarsh, M, 'citing nonsights, chromophilia, self unfolding, self unfolding 2, chromophilia 2, Untitled, biomorphs 1-5, "uncovering", "harbouring", "Moraine 4"', 3-D Painting, Audi Art Prize 2007, Blueprints for a new Topiary, Conny Dietzschold; Museum of Contemporary Art, Sydney; Metro Arts, Brisbane, Conny Dietzschold Gallery, Sydney; Museum of Contemporary Art, Sydney.
3D Painting :An exhibition of Sydney artists exploring the object based nature of painting Audi Art Prize: Prize for Visual Arts excellence Blueprints: An exhibition of three artists working in the area of expanded painting
Ghosting was shown as part of street exhibition entitled 'In Temperance: Pop Up Gallery' which featured the work of visual artists, video artists, street artists, performers and architects. The aim of the exhibition, a project of the Designing Out Crime Research Centre at UTS, was to demonstrate how the street and particularly laneways or 'dead zones', such as Temperance Lane in the CBD, could be potential venues for showing art and bringing people together into areas of the city that are otherwise shunned.
Ghosting is a continuation of my ongoing research into expanded painting whereby painting migrates off the wall to occupy installational space and then streets and lanes in the city. The work featured slumped Perspex resting on the large struts of an industrial air conditioner at the rear of a building that fronts onto George Street in the city.
The Temperance Lane project is the first time that a 'pop-up' or temporary gallery has been set-up to reclaim an otherwise forgotten or dangerous street. The exhibition was important in that it demonstrated how art and design events of an ephemeral and short term nature can significantly transform dormant laneways into ongoing cultural sites. The laneway in question has been a regular site of art related events since the night of 'In Temperance'. The project was supported by University of Technology, Sydney, NSW Department of Justice and Attorney General, City of Sydney Council, and the artist run initiatives: Institute of Contemporary Art Newtown, Peloton and MOP Projects.
Titmarsh, M, 'Purple Prose', Voicemail, SNO Contemporary Art Projects, Sydney.
Experimental Sound Work acting as an extension of Painting issues
Titmarsh, M, '1. 'I am ( I and I)', (1996), acrylic on paper, manipulated book2. 'LXZb' (2002), acrylic on hard cover book, manipulated book3. 'Adam and Eve', (1997), oil stick on paper, manipulated book4. 'On Illustration', (2012), acrylic on paper (dust jacket) and wood5. 'Philosophy and Simulation', (2012), acrylic on paper (dust jacket) and wood6. 'Michelangelo', (2012), acrylic on paper (dust jacket) and wood7. 'Conceptual Art', (2012), acrylic on paper (dust jacket)8. 'The Artists', (2012), acrylic on paper (dust jacket)9. 'Isolated Houses', (2012), acrylic on paper (dust jacket)10. 'Burtynsky Oil', (2012), acrylic on paper (dust jacket)11. 'Creative Britain', (2012), acrylic on paper (dust jacket)12. 'A Critical Anthology', (2012), acrylic on paper (dust jacket)', Cloud LIbrary (SCA Art Project 3), Fisher LIbrary Gallery.View/Download from: UTS OPUS
Titmarsh, M, 'Picturing Movement, (2014)UM, (2014)From the Land, (2014)Naked Beauty, (2014)Arcadian Library, (2014)', In Motion, Airspace Projects, Airspace Projects Gallery.View/Download from: UTS OPUS
Titmarsh, M, 'Struth', Covers, Institute of Contemporary Art Newtown, Institute of Contemporary Art Newtown (ICAN).
'Struth' (2007) was an individual work in a large group exhibition, entitled 'Covers' (15-30 January 2010), curated by Scott Donovan, director of ICAN Gallery (The Institute of Contemporary Art Newtown), looking into the contemporary phenomena of artists reworking the covers of books or album covers as a way of declaring allegiance or critical distance to certain aesthetic styles and cultural positions. This work was the beginning of a new body of work I have developed in relation to a collection of dustjackets acquired from the waste stream of UTS Library. I have chosen some of the bookcovers on the basis of their affiliation to art, design, fashion, philosophy and also their look, how the graphic presence of the jacket design might be enhanced or complicated by traces and overlays of poured paint. The work has become an important part of my ongoing research into expanded painting which was the topic of my PhD thesis and various conference papers of the last few years. These works encapsulate the idea and physical process whereby painting can literally encompass ideas and text and in doing so create a link between image, text, concept, perception, poetry and poiesis.
This solo exhibition by Mark Titmarsh explores the spectacular nature of colour and its importance in maintaining the presence of painting in its interface with other media especially sculpture, installation, performance and video. The show includes works on various materials including perspex, book dustjackets and videos of performances that show colour in the trans-substantiated form of coloured balls and spray string. The catalogue essay looks at the historical prejudices against colour and the ways certain artists are nominated, colourists, indicating an historical relationship with colour from pigments of the earth, to synthetic laboratory colours to screen based pixel colour.
An installation of paintings and installations using book dustjackets as substrate. . âPainting and Timeâ extends a conversation about the way temporality registers in an artwork. Time was a central thematic of Heiddegerâs work. His interest in finding new ways of describing its subtle centrality never waned. This shows is not a commentary on Heideggerâs long and complex writings but rather acts as an experimental response to ideas arising from his texts. The work in the show takes up the idea of lived time, the kind of time that we understand intuitively, the time that is revealed through the acts of making and thinking.
Titmarsh, M, 'On the Beach magazine', Discipline and Australian Art Magazines, Kunstverein, Amsterdam, Holland.
A display of influential Australian art magazines, Lip, Art Network, Art and Text, Pataphysics and On the Beach. As editor and contributor I was asked to select some issues for display in the gallery.
A group exhibition of five artists working multimodally that asked the question, What is painting? Why is it meaningful to claim that an artwork is still a painting within the interdisciplinary and pluralist cultural landscapes of the early 21st century? What can the idea of painting offer us in a time dominated by post-conceptual, dematerialised, digital, and performative tendencies in advanced art practice? Unlike the stylistic permutations that defined the evolution of painting within modernism, more recent art histories have increasingly traded discipline specific categorisation for critically or conceptually defined genealogies.
Titmarsh, M, 'Chromophiliac 2', Alchemy, Mark Titmarsh, Sydney College of the Arts Gallery.
A group exhibition artists exploring the range and possbility of colour in contempoary mediums.
In its third year, SUB12 is a major annual three-month exhibition program presenting newly commissioned work by twelve leading contemporary Australian artists
Titmarsh, M, 'Viva', Return to Sender, Mark Titmarsh, University of Queensland Art Museum.
A group exhibition of artists who left Brisbane in the 1970s and migrated to Sydney where they contributed to the development of postmodern practices in painting, photography, film and video.
Titmarsh, M, 'Open House 2012', Foley Street Darlinghurst Sydney.
A one night pop up gallery event featuring five installations designed by 30 members of the UTS dLab group.
Titmarsh, M, 'untitled', Cases, Sydney City Council and Thylacine, Art Almanac March 2007.
a group exhibition of 6 artists, each a member of Loose Projects, showing work in each of 6 pods in Taylor Square. My work comprised an installation of coloured balls and mirror balls.
Titmarsh, M, 'Ben', Goodnight, Peloton Gallery, Peloton Gallery, Devonshire Street, Surry Hills, Sydney.
Ben (2012) collage on Gatorboard
Chromo-man, 2013, performance Chromo-vitruvian-man, 2013, installation, silly string, variable dimensions Specific Painting3, 2009-2013, slumped perspex, 108x98x60cm The Look, 2013, collage on aluminium, 29 x 53 cm
Titmarsh, M, 'Psychogeography', Plus 1, Marrickville Garage, Marrickville Garage Gallery.
Mark Titmarsh Psychogeography, 2013. Paper (book dust jacket) on foam core. 18.5x27cm
Chromophiliac 2 (2010) (purple) slumped perspex 48 x55 x 97cm, Chromophiliac 2 (2010) (green) slumped perspex 64 x 80 x 93cm
Titmarsh, M, 'Chromophiliac 2 (fluro pink) and Chromophiliac 2 (fluro green)', The Grotto Project: Play with Colour, University of Newcastle, Fine Arts Gallery, Ourimbah Campus, Uni of Newcastle.View/Download from: UTS OPUS
Chromophiliac 2 (fluro pink) and Chromophiliac 2 (fluro green), both slumped perspex, approx 50 x 60 x 70 cm
'Collective Polychrome, 2009' 600 x 600 x 200 Acrylic on canvas, Acrylic sheet Mark Titmarsh, Billy Gruner, and Kyle Jenkins
A performance in which the artist sprays the walls and ceiling of the gallery space with coloured spray string and then is eventually sprayed himself by the other performers until he is covered with coloured string.
Titmarsh, M, 'Looking through a piece of Plastic (2014)', Plastic Oh No, Marrickville Garage, Marrickville Garage Gallery, 28 Leofrene Av, Marrickville.
Literally the work is a plastic box containing plastic remnants from a performance. Figuratively it is a monumentalisation of plastic, honouring and preserving plastic in a casket of its own design. Aesthetically it is a reference to Ian Burns Looking through a piece of Glass (1967-8) where looking and seeing are conflicted.
Titmarsh, M, 'Know Colour', 20x20-x20, Nicki Gasper, NG Art Galery.
A constructed acrylic glass cube filled with small mirror balls answering the brief of a work with no colour, in this instance all materials were transparent or mirror surfaces with no colour of their own.
Titmarsh, M, 'Van, 2013 Novartis Campus, 2013 Van Gogh Up Close, 2013 North South East West, 2013 Butchers Hook, 2013-4', True Colour, Marrickville Garage, Marrickville Garage Gallery, 28 Leofrene Av, Marrickville.
An exhibition of collage paintings created from dustjackets donated by UTS Library. All the works feature minimal intervention such that cutting and pasting is almost seamless and mimicking the attributes of digital software such as Photoshop.
Titmarsh, M, 'Painting Town (Red, Yellow, Blue)', Painting Town, Modern Art Projects, West Project Space.
A three channel video installation depicting paint pouring in slow motion onto architectural models.
Titmarsh, M, 'Painting Town, Mattering, Self Unfolding, Painting Out', Lines of Force, Sydney College of the Arts Gallery.
A video, 2 paintings and a performance that investigate the contemporary presence of industrial colour across various media and disciplines.
Titmarsh, M, 'Chromophiliac 2.5 (purple), Blue Moon Candy Table, Yellow Cobra Chair', Right Here, Right Now, Penrith Regional Gallery.
3 works composed of slumped perspex to form a chair, table and abstract scultpure.
Titmarsh, M, 'Chromphiliac 2.1 (Fluro Pink), 2009, slumped acrylic, 50 x 60 x 70cm approx.Chromphiliac 2.1 (Purple), 2009, slumped acrylic, 40 x 60 x 50cm approx.Chromphiliac 2 (Deep Purple), 2008, slumped acrylic, 18 x 30 x 15cm approx.', Beams Art Festival 2015, Kensignton Street Precinct.
An installation of 3 perspex slumps as part of the grand opening of the Chippendale Creative Precinct.
Titmarsh, M, 'New Earth (magenta minor)', North-West, North Contemporary Art Space.
A group exhibition to launch a new artitst run instiitute, North.
Titmarsh, M, 'New Earth (Magenta), North West Passage.', 2015 Grace Cossington Smith Art award, The Grace Cossington Smith Gallery.
Artists were invited to submit original, two dimensional artworks reflecting the theme of Making Connections. This theme is inspired by the works of Abbotsleigh alumna Grace Cossington Smith, a pioneer of modernist painting in Australia, who created brilliantly coloured observations of the world around her.
Titmarsh, M, 'Shine', Auction, Knulp.
Titmarsh, M, '35 Summers', Scanlines, Artspace Mackay, Tamworth Regional Gallery, Western Plains Cultural Centre Dubbo, Grace Cossington Smith Gallery Sydney, John Curtin Gallery Perth..
Scanlines from dLux MediaArts is a major national survey exhibition.
Scanlines is the first of its kind: a comprehensive group exhibition with an education focus that surveys the heritage of new media art in Australia since the 1980's. Go behind the scenes! A groundbreaking interactive exhibition design puts history at your fingertips: access video interviews with the artists and studio tours from the comfort of the gallery.
The Scanlines exhibition is an exciting journey through time and includes rare early works and well-known favourites by our best-known Australian contemporary artists.
Titmarsh, M, 'State of the Island 2015', Ionian Centre for Arts and Culture, Metaxata, Kefalonia, Greece, Ionian Centre for Arts and Culture.
In this project, design is cast as an agent
for change, a way of creating and critically
exploring possible futures for various
contemporary environments. Centring on
Kefalonia, we consider the future of the
island with regard to the use and re-use of
everyday plastic materials.
This begins as an exploration of plastic,
the story of its creation and how it is has
come to be ubiquitous in the design of
daily practices. It includes looking at the
use of plastic on the island for business
and recreational purposes and noting in
particular any dependence on the use of
single-use disposable plastic commodities.
The works in this exhibition are aimed
at raising consciousness of plastic
usage, steering behavior towards ideal
sustainability, up-cycling for aesthetic
practicalities, and potentially creating a
working model for other islands and island
states to emulate.
Titmarsh, M, 'Globus', Central Park Project Space.
Globus was the name of a spacecraft navigation instrument
used in manned space missions. The device, partially
mechanical and electronic, displays the nadir of the
spacecraft on a rotating terrestrial globe indicating a
location relative to Earth coordinates. The Globus device
is broadly related to war and time, since it is derived from
the Norden bombsight used in WW2 and the technology of
This exhibition by UTS Designers is also a global navigation
device, enabling students to travel great distances from
one part of the globe to another, giving a view of the world
as if from a great distance above. To do this, students
went in their various Labs from Sydney to Greece, China,
Singapore, and Indonesia following collaborative design
practices along the sight lines everyday life and a possible
sustainable future. This exhibition is offered as a blip on
the radar screen, indicating some of the interventions
made, collaborations formed, and new poetic possibilities
developed while far away from home.
Titmarsh, M, 'Plastination', Rocks Village Bizarre 2015.
The title of this exhibition is taken from a process used in anatomy to preserve bodies as first developed by Gunther von Hagens in 1977. However none of the works on display here have used actual 'plastination', rather there is the metaphor of plastic as something that has become an intimate part of our lives, impregnating us with its chemical and industrial properties and carrying us towards it's specific destiny.
In this situation design is seen as a way of creating and critically exploring possible urban futures with and without plastic. This begins as an exploration of plastic itself, the story of its creation and how it is has come to be ubiquitous in the design of daily practices. The projects on display in Foundation Park are the result of looking at plastic usage in the urban environment for business and recreational purposes, noting in particular any dependence on the use of disposable plastics, from plastic bags through bottles to cups. The result is five activist installations that reflect a heightened consciousness of plastic usage, behavior steering towards ideal sustainability, and up-cycling for aesthetic practicalities, potentially creating a model for individual awareness, best business practice and municipal innovation.
Titmarsh, M 2018, 'When is an installation, a garment, or a building really a painting?', Art and Australia.
A discussion of Katherina Grosse's installation 'The Horse Trottted Another Couple of Metres, Then it Stopped', on display at the Carriageworks in Sydney during the Sydney Festival.
In January 2018, German artist Katharina Grosse's new work, a massive 8000 square metre installation will be unveiled as part of Sydney Festival 2018. Carriageworks Director Lisa Havilah affirms that this will be "the most ambitious single-artist commission Carriageworks has undertaken" and will involve responding to the unique industrial architecture and grand scale of the heritage building.
Above and beyond the vast spectacle of the work, it is interesting to note the way Grosse speaks about the work as if it were a painting, retaining an intimate and expressive relationship to colour. This is confounding, even ironic, since no matter how hard you search you will not see a stretched canvas or stroke of brushwork in Grosse's work.
This article will examine the historical evolution of painting, from the apparent 'death of painting', supposedly occurring at the hands of European avant-garde artists over 100 years ago - to the evolution of "expanded painting", where painting can no longer be reduced to colour, or paint or the flatness of an image. Painting is instead a changing pact between artist, medium and audience that is always under negotiation.
Titmarsh, M, ''Single Use Island 2016 Exhibition and SEAS Arts Performance', Radio Interivew'.
Titmarsh, M, 'Putting in Place, Opening night speech, Plonk exhibition'.
Titmarsh, M, 'Radio Interview'Single Use Island Exhibition', interviewed by Maria Founta, on Arts and Culture, Ionian Galaxy Radio, 90.8FM, Thursday 2 July 2015.'.