A practitioner's perspective on practice-based research.

1. DR ANNEMARIE MURLAND
THE ARTIST AS RESEARCHER

2. CONTEMPORARY PAINTING IN PRACTICE:
USES IT S MATERIAL LANGUAGE AS A RESEARCH METHODOLOGY TO EXAMINE AND
EXPLORE THE ARTIST AS RESEARCHER’S TACIT EXPERIENCES AND IDEAS THROUGH A
CREATIVE, INTERDISCIPLINARY, ACTIVE AND COLLABORATIVE LENS.
W R A P P E D U P A N D N O W H E R E T O G O , I N T E R D I S C I P L I N A R Y P A I N T I N G , G R A P H I T E , I N K A N D O I L O N
P A P E R O N B O A R D , 2 0 1 4 .
Annemarie Murland: Materials Matter: Wrapped ll, Interdisciplinary Painting,
Drawing and Printmaking, on Arches Paper,120x80cm, 2014.

3.  Project Title: AM 73
 Question: Why did you make that and call it a painting ?
 Subject Matter: Painting in the expanded field.
 Genre: ‘Conditional Abstraction’.
 Context: Material Contrasts.
 Concept: Faktura
 Methodology: Experimental: Think-Make-Reflect.
 Media: Interdisciplinary.
 Medium/Materials: A combination of alternative and traditional surfaces and strainers:
Cast/Woven/Knitted/Khozo Paper/ Polythene. Including traditional and non -traditional
materials and technologies.
 Visual Concepts: Texture – Light – Size - Scale – Temperature – Perspective – Space –
Colour- Form.
 Outcome: Indeterminate abstract paintings.
Q U E S T I O N
W H Y D I D YO U M A K E T H AT A N D C A L L I T A PA I N T I N G ?

4. O N C E W E W E R E F I S H E R M E N I , O I L O N C A N VA S O N B OA R D , 6 0 X 6 0 C M , 2 0 1 4 .

5.  Learns by doing.
 Is skilled in synthesising disparate sources of information.
 Respects traditional and historical structures.
 Articulates creative practice through engaging with material culture.
 Understands the role of creative practice as a cultural force.
 Has multiple perspectives: Interdisciplinary, Intradisciplinary, Transdisciplinary.
 Expects critical feedback .
 Is socially engaged and lives in a network culture.
 Expects access to quick and fast knowledge – technology makes sharing easier.
 Expects to learn on line.
 Shares and receives knowledge [social scholarship] through new media interfaces.
 Is the audience - the author - the artist - the curator – the creator and consumer.
THE CONTEMPORARY ARTIST AS RESEARCHER

6. O N C E W E W E R E F I S H E R M E N I I , O I L O N C A N VA S O N B OA R D , 6 0 X 6 0 C M , 2 0 1 4 .

7. Educational Technology tools, Web 2.0 technologies and changing methods of delivery and instruction
engage the student in collaborative and active learning processes. The flipped studio means
participation through interactive learning strategies in and out of studio to improve the development of
dialogue and discourse. The student’s visual voice and sense of self in practice is thus enhanced as is
the learning environment.
Best teaching practice concentrates on new ways of seeing and doing through a process of practice
that enhances deeper learning through active participation, collaboration and engagement within a
studio setting.
Being a participant and learner in a blended learning environment[ face to face] sessions mean more
higher order conceptual and critical thinking takes place which influences the creation of highly
developed and thought through work. This type of learning environment increases activity through
participation and dialogue discourse emerges that ultimately provides opportunities for discovery and
[new] knowledge production through the practice of making.
Learning in a flipped studio requires engaging in self determined learning of course content before
studio sessions, meaning that she/he is prepared and ready to engage in studio practice activities.
Ultimately everybody, facilitator included is more organised and engaged, thus more thinking and doing
takes place.
Best teaching practice activities make best use of students abilities and time and are reflective of the
changing relationships in knowledge production and reception of creative practice as a
learning/knowledge building tool that creates meaning within and beyond the academy.
INNOVATION IN BEST TEACHING PRACTICE IN
THE FLIPPED STUDIO

8. O N C E W E W E R E F I S H E R M E N I I I , O I L O N C A N VA S O N B OA R D , 6 0 X 6 0 C M , 2 0 1 4 .

9. O N C E W E W E R E F I S H E R M E N I V, O I L O N C A N VA S O N B OA R D , 6 0 X 6 0 C M , 2 0 1 4 .

10. O N C E W E W E R E F I S H E R M E N V, O I L O N C A N VA S O N B OA R D , 6 0 X 6 0 C M , 2 0 1 4 .
Annemarie Murland: Crossing Borders, Oil on Canvas on Board, 60x60cm, 2014.

11. DRAWING INTO PAINTING
R O O T E D E L S E W H E R E , G R A P H I T E , C H A R C OA L , I N K , G E S S O A N D O I L PA I N T O N K H O Z O PA P E R ,
1 8 0 X 1 57 C M , 2 0 1 4 .

12. INTERDISCIPLINARY PAINTING
W R A P P E D U P A N D N O W H E R E T O G O , C H A R C OA L A N D O I L PA I N T O N PA P E R O N B OA R D ,
1 2 0 X 8 0 C M , 2 0 1 4 .

13. INTERDISCIPLINARY PAINTING
R O O T E D E L S E W H E R E , G R A P H I T E , C H A R C OA L , G E S S O A N D O I L PA I N T O N K H O Z O PA P E R ,
1 8 0 X 1 5 5 C M , 2 0 1 4 .

14. B O D H R A N B E AT S O F WAV E G E N T LY L A P AG A I N S T H E R S K I N , W H E R E D O C K I N G LOV E L E AV E S
H E R B A R E A N D O P E N L I K E T H E M I N C H T H AT S E PA R AT E S H E R F R O M H E R A I N . S W O L L E N
S H E R I S E S T O D I V E B E N E AT H WAT E R S DA R K T H AT P E N E T R AT E P I L L O W S O F P L E A S U R E .
B O T T O M L E S S A N D WAT E R LO G G E D S H E WAV E R S F O R H E R C E N T R E , T H E S E A .
[ A N N E M A R I E M U R L A N D : T H E S E L K I E P O E M , E X E R T ]
T H E S E L K I E , M I X E D M E D I A O N A R C H E S PA P E R , 1 2 0 X 8 0 C M , 2 0 1 2 .
Annemarie Murland: The Selkie, Drawing into Painting, Mixed Media on Paper on Board,110x100cm, 2010.

15. THE SKY WAS SITTING ON TOP OF HER HEAD; IT WAS VERY LOW AND GREY THAT
DAY. SHE RECALLS IT AS IF YESTERDAY; FOR TIME IN MEMORY IS IRRE LEVANT.
A LIFE EXHAUSTED BY GOOD -BYES. A LINGERING MEMORY; A SENSATION, NEVER
FORGOT, NEVER PERMANENT, ALWAYS BIDING TIME.
A N N E M A R I E M U R L A N D , 1 9 9 1
G A L W A Y S H A W L , O I L O N B E L G I A N L I N E N , 1 4 0 X 1 1 0 C M , 2 0 0 9 . A N N E M A R I E M U R L A N D : A F T E R
B E F O R E W H I T E R A B B I T S … , [ 2 0 0 9 ] , 6 .
Annemarie Murland: Galway Shawl, Oil on Linen, 140x110x15cm, 2009.

16. W E A V I N G T H R O U G H K N I T T E D Y A R N S T H A T H O L D T I G H T S T O R I E S
P R E C I O U S M O T H E R ’ S G I F T U N F O L D S I N B R O K E N T H R E A D S
S T I T C H I N G T I M E B A C K , W H E N L I F E W A S A L L B U T A
F R A G M E N T O F T H E F A T H E R ’ S E Y E
S H E M O V E S T H R O U G H S P A C E S D A R K T O F I N D R E S T
S H E S I G H S A T L A S T ,
I A M H O M E .
W E A V I N G P A I N T : O I L O N B E L G I A N L I N E N , 1 4 0 X 1 2 0 C M , 2 0 0 9 . A N N E M A R I E M U R L A N D , 2 0 0 9 .
Annemarie Murland: Gallowgate, Glasgow, Oil on Belgian Linen, 90x70cm, 2010.

17. ANNEMARIE MURLAND
C O LO U R A S F O R M , L A N D S C A P E , O I L O N L I N E N O N B OA R D , 7 9 X 5 3 C M 2 0 1 3 .

18. ANNEMARIE MURLAND
C O LO U R A S F O R M , L A N D S C A P E , O I L O N L I N E N O N B OA R D , 7 9 X 5 3 C M 2 0 1 3 .

19. ANNEMARIE MURLAND
C O LO U R A S FO R M , N E D K E L LY W H E R E A R E YO U ,
O I L O N C A N VA S O N B OA R D , 7 9 X 5 3 C M , 2 0 1 3 .

20. ANNEMARIE MURLAND
C O LO U R A S F O R M , A B S T R AC T I O N , O I L O N L I N E N O N B OA R D , 7 9 X 5 3 C M , 2 0 1 2 .

21. Annemarie Murland: The Marian Thread, Digital Print, 2013.
Stories of Origin, Dublin 2015, New Voices Ireland Project.
Pope Joan, Digital Print, 40x40cm 2015.

22. T H E S O U N D , T H E U N FA M I L I A R SY N TA X C H O K E D T H E V E R NAC U L A R F RO M H E R T H ROAT,
W H O WA S T H I S G I R L , A B R I D E D R E S S E D I N AW K WA R D C LOT H I N G S U I TA B L E B U T Y E T N OT
S O S U I TA B L E ?
[ A N N E M A R I E M U R L A N D 1 9 9 1 ]
Q U E E N V I C T O R I O U S , D I G I TA L P R I N T, 4 0 X 3 0 C M , 2 0 1 5 .
Annemarie Murland: The Marian Thread l, Digital Print, 2013.
The Marian Thread is an interdisciplinary collaborative research project with Irish artist Kiera OToole:
www.marianthread.com

23. I N A L I G H T T H AT WA S N O T G R E Y I FA I L E D T O R E C O G N I S E M Y S E L F. I H A D N O T H I N G I N
C O M M O N W I T H T H I S P L AC E A N D S O I R E J E C T E D T H E L A N D S C A P E , C U LT U R E A N D P E O P L E T H AT
S U R R O U N D E D M E , A L L O F I T R E I N F O R C E D A S E N S E O F D I F F E R E N C E A N D O F N O T B E LO N G I N G
O N C E M O R E . T H I S P L AC E WA S T O O D I F F E R E N T.
A N N E M A R I E M U R L A N D , 1 9 9 1 .
A N N E M A R I E M U R L A N D : A F T E R B E F O R E W H I T E R A B B I T S … ( 2 0 0 9 ) . 4 6 .
The Marian Thread l l, Digital Print, 2013.