Abstract/Summary

This thesis explores the implications for an artist using an alter ego as a space, physically, virtually, conceptually and psychologically, to trial alternative versions of self, creativity and ‘personal’ narrative as a mechanism to produce new artworks. My PhD studio experiments and the creation of three alter egos resulted in a joint exhibition and the development of a substantial body of artwork. My use of alter egos tapped into autobiographical stories that enabled new perspectives and experimentation with my past narrative, which framed the thesis. This was informed by multi-disciplinary research into artists and writers who use an alter ego from art history and theory to identify relevant artistic practices, including Cindy Sherman; Jimmie Durham; Laura Albert; Marcel Duchamp; David Bowie; Grayson Perry; Juliana Huxtable; Johnny Vegas and Cao Fei and Michel Foucault’s conceptual model of heterotopic space. This research was supported by interviews with practising artists who utilise an alter ego. The research proposed that alter egos offer the artist the opportunity for self-knowledge by testing alternative versions of self, perspectives, and narrative. They offer a protective mask that distances the artist, enabling the exploration of conflicting issues. They may restrict the artist’s practice, be time-consuming, and confuse the viewer and art market, which seeks clear definitions of the artist’s ‘back story’ and context. Using an alter ego may be problematic for payment, obtaining grants, entering open calls, or being interviewed and is ethically complex. The alter ego is a heterotopic space operating simultaneously as the raw material, the process, the art form, the curator, and the creator. This ‘space’ is not frictionless or cut off from ‘reality’ but allows the artist to play with spaces such as life stages and time, to re-enact past experiences from a different perspective and test alternative methods of performing and production. My research journey evolved into alter egos that changed from passive and controlled by me to becoming active, creative drivers whose narratives were formed from autofiction, garnered from my past, which created unexpected creativity that is different to my art practice.