Abstract
This article describes an innovative relationship between the practice of landscape painting with theoretical research into second-generation memory. I adopt a practitioner's perspective by investigating the implications of the exchange between the materiality of both paint and landscape, the processes of painting and theoretical issues concerning second-generation memory. The form of this article has evolved out of a methodology parallel to my practice of painting: the issues have developed out of the painting objects and the painting processes, thus demonstrating how a very specific relationship with and understanding of both ‘landscape’ and postmemory might be embedded in the creative process itself.
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