ABSTRACT
This chapter demonstrates the interaction between theory and practice during the process of producing a practice-based PhD. It describes the encounters between academic and creative enquiry as witnessed through the development of the sketchbook and reflective journal, and the dialogue between the respective ways of working in these documents. A photograph taken in order to record progress shows an image of oblique divisions between the painting and the surrounding space, due to the attempt to capture all of the 'Rodin' painting in the frame. Sally Morgan of the University of Western England (UWE) has argued that knowledge derived from practice-based PhD research is aside from general academic research validation to support this view. The posterior nature of the artist's process is a fact that makes critical evaluation problematic, however, stringent records of the process offer a degree of circumspection that allows critical practice to augment art working.
