Dr Caelli Jo Brooker is a designer and artist whose work explores visuality, mark-making, materiality, typography and abstraction. Operating between art and design, her broader practice takes an interdisciplinary approach in bridging the analogue and digital spheres, incorporating studio art, traditional and digital print media, typography, design image-making and artists’ books. Her professional background is in commercial design, creative pedagogy and the cultural and creative industries. Having previously worked as an arts administrator, curator and ARI gallery director, she maintains a design and visual arts practice while working as a Lecturer in Visual Communication Design at the University of Newcastle.
Inspired by an instance of slippage between the haptic operations of art and design, the research asks how mark-making might materialise in light of the potentialities of the digital creative landscape. Recognising a polarisation between the analogue and the digital in personal practice, binary opposition is utilised as an initial framework through which to explore the abstract gestural mark.The generative potential of Deleuzian conceptions of difference and repetition are then engaged in reappraising these binary structures. In response to the de- constructed binary, the DeleuzoGuattarian rhizome proves a resonant philosophical theme through which to develop and apply a corresponding metaphorical and methodological strategy of translation, transformation and multiplicity—a progression from binary division toward rhizomatic exploration and incorporation. An inclusive rhizomatic model is thereby postulated and applied for negotiating the connective multiplicities inherent in artistic research.
The empiric application of this model is tested and evidenced through multiple means, drawing on an interdisciplinary theoretical, technical and material ‘toolbox’. Tools shared by art and design are proposed as strategic, generative methods of creative discovery, navigation, investigation and analysis, in linking thought to its representations. These rhizomatic studio encounters, and idiosyncratic readings manifest multiple materialisations of mark- making in the digital age.