An examination of the potential based within the notion of 'The Virtual' and the interdisciplinary affects upon contemporary painting practices

The aim of my approach is to locate or establish the relationship of different theoretical and philosophical models -including the fold, the notion of 'technique', memory, the virtual and duration - in order to establish new ways for thinking concerning painting and importantly how it can operate in an interdisciplinary manner. In particular the idea of 'change' and 'the new' in relation to Deleuzian 'becoming's', in contrast to Hegelian dialectics, drives the theoretical research, and how this theoretically and practically challenges the idea of painting now.

There will be two different outcomes to this research project. The first will be a written text, with the intention of constructing a book chapter in preparation for publication, and secondly a practical element (which will be presented in the form of an exhibition and will be supported by a catalogue). The practice will demonstrate the relationships between architecture, painting and installation which will be discussed in the written text (including the importance of space and time in relation to the viewer's interaction with the work). It is important to note that the written text whilst influencing the practice will stand on its own and is the focal part of the research.

Principally it is the notion of 'The Virtual' in response to both Gilles Deleuze and Henn Bergson that constructs the shift in the thinking and construction of new and different forms of painting practice. This enables a very different methodological research and also acts as a direct challenge to the constraints of previous formalisms. Essentially this creates a new way for painting to be constructed and consequently thought. The Virtual allows, or forces, integration, and consequently structures an interdisciplinary practice driven through painting.

Effectively this creates a way for painting to *persist' and allows for component elements to be incorporated within a larger and differential form. Gilles Deleuze's philosophy (in particular the notion of the virtual) will be present throughout the written text as a catalyst for re-negotiating both the spaces of theory and the realisation of painting practices. The notion of interdisciplinarity stems from this particular philosophical investigation, and proposes painting as an intrinsically interdisciplinary practice.

This form of interdisciplinarity is important to the future of painting practices, the medium consequently opening out, focusing upon external relationships rather than internal critique. It is not about a truth to materials, a truth to disciplinarity or the search for the essence (spirit) of a medium, but rather the integration of different elements - blended together in a looser mixture. For instance, this could be seen as the potential based in the relationship between contemporary architectural practices (such as Greg Lynn or Reiser and Umemoto) and the development of an 'open' painting practice. The result of which can be seen as the collaboration, or integration of the two seemingly distinct disciplines.
This collaboration and integration between disciplines functions on many levels, structuring new ways for thinking regarding the construction of contemporary art practices.

The links between a number of different philosophical notions proposed by Deleuze, for instance the fold, memory and duration will also be considered alongside the Virtual and their relevance to the project can be seen to be determined through actual methods for practice. They also create their own problems for practice which need to be considered in terms of theoretical constraints and how this determines the future of practice.