Deterritorialization  of painting

“Deterritorialization frees a possibility or event from its actual origins” (Deleuze 1986: 96).

绘画的解域

Deterritorialization is the process by which a social relation, called a territory, has its current organization and context altered, mutated or destroyed. The components then constitute a new territory, which is the process of reterritorialization. Deterritorialization and reterritorialization occur simultaneously.  

Here I apply the concept of ‘Deterritorialization’ to painting, discussing how painting in the traditional meaning (easel painting hung on the wall) will be transformed into a deterritorialized one, the transformation is not geopolitical, and where cultural and social factors will be set aside.

The elements in this work are escaped from their original territory:

Ways of viewing paintings——————

Line of sight from the image to the eye——————

Placement of painting——————

Quadrilateral for picture frames——————

white wall——————

Content of the image——————

The meaning of the content of the image is removed and broken down into brush paths made up of the basic colours of red, yellow, blue, black and white. I still use the original painting materials, wood, cloth, gesso, nails, so that the concept of ‘painting’ is perpetuated. From the mid-twentieth century onwards, many paintings have actually been decontextualised for history, they have left behind some of the inherent limitations of painting, but by examining the history, I find that there is less of a transitional process, less of some interpretive works to show us how we have shifted from the traditional paintings to the present installation-like, performance-like, paintings accompanied by technological means.