Paul TANCHIO
P.A. TANCHIO, born in Singapore, is an Asia-pacific artist, academic researcher, and art advocate based in Sydney and Singapore. He has curated, exhibited, performed and presented his work extensively both nationally and internationally. His published writing features transcultural aesthetics and contemporary art forms, through the work of practitioners such as Anselm Kiefer, Imants Tillers, John Young, Gao Xingjian, Helmut Federle, and Lee Ufan. His artistic practice develops from an interpretation of transcultural aesthetics in the light of human consciousness, challenging problematic aspects of the transcultural art form that he employs from key strategies of the Chinese, Indian and European aesthetic traditions. The interpretation surrounds the works of Eliot Deutsch, Grazia Marchianò, Wilfried Van Damme, Gianni Vattimo, and Robert Wilkinson to engage feelings of truth, beauty, and the good, and to transcend contemporary realities and practices. His multi-layered paintings, drawings, installations, and various art forms mediate World Poetic Histories, epigrams and human experience, including art therapies where he transforms the everyday subjects into conceptually rich images and ideas. Dr Tanchio has exhibited in Berkeley, San Francisco, Singapore, and Sydney. Some works are in the collections of the United Overseas Bank and homes of private collectors. Dr Tanchio's research interest is in the emergence of transcultural aesthetics from the Axial unity traditions matrix, and it includes comparative philosophy, histories and aesthetics, and creative developmental mediator-practices, metaphysics, healthcare, the visual culture within the Asia-Pacific, and the influence of all these on art forms and practices.
Supervisors: Associate Professor Ann ELIAS and Dr Dani MELLOR
Phone: +61 402 174 159
Address: Theoretical Enquiry Studio
Theoretical Enquiry Bldg, B24
Sydney College of the Arts,
Rozelle Campus,
The University of Sydney, NSW 2039
Australia
Supervisors: Associate Professor Ann ELIAS and Dr Dani MELLOR
Phone: +61 402 174 159
Address: Theoretical Enquiry Studio
Theoretical Enquiry Bldg, B24
Sydney College of the Arts,
Rozelle Campus,
The University of Sydney, NSW 2039
Australia
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This paper will not deal with the issues related to the study of the final act discourses in the artmaking; instead I will focus on the last pronouncement or statement, which contains the manifesto motif. At the final act, the expressionist consider their impending fate of self as the effective means to the ratification of a manifesto where art reconstitute and recreate a new relationship with the observers and participants in the process of aesthetic appreciation. In short, the observers who anticipate the artist pronouncement comprised this reconstituted community. It is also the ratification of this contemporary manifesto and the constitution of the new and reconstituted art community, in the context of the reconstitution of human consciousness, that the expressionist understood their fate to signify. Thus, the final action, motifs of reconstitution, manifesto and community are prominent and intertwined.
This paper will demonstrate how the consciousness traditions have caused the expressionist to perform and re-create this manifesto-establishing creative action in their artwork.
Papers
This paper will not deal with the issues related to the study of the final act discourses in the artmaking; instead I will focus on the last pronouncement or statement, which contains the manifesto motif. At the final act, the expressionist consider their impending fate of self as the effective means to the ratification of a manifesto where art reconstitute and recreate a new relationship with the observers and participants in the process of aesthetic appreciation. In short, the observers who anticipate the artist pronouncement comprised this reconstituted community. It is also the ratification of this contemporary manifesto and the constitution of the new and reconstituted art community, in the context of the reconstitution of human consciousness, that the expressionist understood their fate to signify. Thus, the final action, motifs of reconstitution, manifesto and community are prominent and intertwined.
This paper will demonstrate how the consciousness traditions have caused the expressionist to perform and re-create this manifesto-establishing creative action in their artwork.