Peter Nelson




University of New South Wales, Australia


Peter Nelson completed a Bachelor of Fine Arts with First Class Honours and the University Medal for Fine Arts in 2006 at the College of Fine Arts, University of New South Wales. He has held numerous solo and group exhibitions, and in 2011 was a recipient of the Art & Australia Credit Suisse Private Banking Contemporary Art Award.

In 2009 he spent 6 months researching and working as an artist in China, which included a 3-month studio residency with Red Gate Gallery in Beijing.

He is currently engaged in a Masters by Research at the College of Fine Arts, University of New South Wales, developing a critical framework for analysing invented landscapes. In 2011 he was an artist in residence at the Cité Internationale des Arts, Paris.


Asian Visualities and Contemporary Narratives. This paper is presented as part of a panel discussion. For more details click here.


Extensions of a No-Place: Four narratives for invented landscapes


This paper considers four modes of landscape aesthetics in relation to the coarse generalisation ‘invented landscape’ as an exercise of parallel presentation and an introduction to my drawing project ‘Extensions of a No-Place.’ The first mode presents the 18th century Picturesque movement in both painting and landscape design as an aesthetic system that collected motifs and compositional strategies from various European painting styles. It situates this codification as a response to the opportunity provided by the enclosure and commodification of vast tracts of what was previously common land. The second narrative examines Utopianism as a genre that specialises in social critique through spatial and architectural delineation. The examples discussed here are the series of proposed urban megastructures posited in the 1960s and 1970s. The third narrative considers Chinese literati landscape painting as a modular aesthetic system of rearrangement. This analysis concentrates on the codification of painting approaches in texts such as the late Ming Mustard Seed Garden Manual of Painting. The forth narrative describes Real Time Strategy computer games as invented counter-worlds, borne out of science fiction plotlines and primarily orientated towards territorial domination. The example discussed here is Blizzard Entertainment's Starcraft. My discussion of systems of landscape fabrication precludes the introduction the Cartesian wasteland that is the Extensions of a No-Place drawing project. This endlessly extendable landscape is a possible end-game spatial construction based on a fantasy of limitless territory and the faltering vision of an artist who is then left to colonise it.


Thursday 29 September


1.30 - 3.00pm




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