The First Source: ‘Aura’ in the Age of Advanced Imaging Technologies

Extract from draft chapter: The First Source: ‘Aura’ in the Age of Advanced Imaging Technologies What then is the aura? A strange tissue of time and space: the unique apparition of a distance, however near it may be. To follow with the eye—while resting on a summer afternoon—a mountain range

The self anointing PhD

PhD: the self-anointing animal In the non-human animal world, self-anointing (smearing bodily secretions and/or parts of the bodies of other animals or plants over themselves) assists the animal in different ways, from aiding communication to repelling parasites (even making the animal poisonous) or providing camouflage. A practice based PhD is


Chelsea Lehmann, Fey (2016) oil on linen, 72 x 56cm Upcoming exhibition at Strange Neighbour Gallery (Fitzroy, Melbourne). exhibition details here EFFACE:​ ERASE (A MARK) FROM A SURFACE. ​​MAKE ONESELF APPEAR INSIGNIFICANT OR INCONSPICUOUS. In Efface, Luke Thurgate and Chelsea Lehmann present new paintings as well as a collaborative wall work in

On the work of painter Nicola Samorì

“Every well-established language is the embodiment of a ghost that never ceases to push out the shape from within even when its image seems to be complete. I reconstruct the outcomes of the trials that have characterised these different seasons and I shake them while their bodies are still soft.


In painting, empirical or sense knowledge underpins many different aspects of practice, however colour must be one of the most deeply felt, yet least understood of these elements. To the painter, paint colour is a malleable, concentrated multifunctional mass — it’s central role in illusion can be both exciting and burdensome. When painting,

Iconoclastic Gesture and the Painted Body

© Chelsea Lehmann, 2015 UNSW Art & Design Postgraduate Research Conference, September 22. Presentation notes: In this presentation I expand upon my research proposition: ‘The painted surface as a live field of matter’, which I broadly contextualise as a form of ‘relational materiality’. In short, I create densely layered paintings using

“The painted surface as a live field of data” (Excerpt from lecture 8.7.15 at Kyoto University, Japan)

Conventionally, the presentation layer of a painting is seen as affective—what you see is what you get; my​ PhD methodology positions ‘the underneath’ as having affect, positing the surface as a complex accretion of material, imagery and processual changes.​ Within painting conservation, scientific imaging techniques are used to observe, protect

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