We too are stuff, but as humans, we are no longer held to be alpha matter. This practical research project travels the boundaries of our bodies through the materials we ingest and reflect, noticing our temper and terroir.
In this research project I show how a performative, material reading of the artwork provides for an interpretive framework constituted as much by the form, subject matter and context of the artwork, as by the viewer’s embodied experience thereof.
My work addresses a conflict in identity. We identify ourselves by our name, in theface of ‘others’ and by our histories. A matter of being given a name and inheriting a legacy passed on from past generations is both passive and active.
The past ten years has seen a sudden rise in the number of academic texts addressing issues surrounding a digital ontology. Ranging from reproduction (Groys 2008), materiality (Blanchette 2011), error (Nunes 2011), and circulation (Steyerl 2009) understanding the digital world has never seemed so pertinent.
The tension of contemporary life exists as a paradox: In an era of increasing migration, both forced and chosen, we are at once radically global and yet culturally divided. As an artist with international experiences, I have personally navigated national and cultural displacement.
The research investigates whether performed acts of ‘Queer Extimacy’ can generate new narratives and voices on the gender spectrum, using my own experience of gender and my subsequent performances as an example.
“Anthropologists don’t believe in things, they believe out of them.”- Roy Wagner This research asks how hunters render something out of nothing and presence out of absence, creating value and mobility from scant resources.
The project proposes an artistic reading of stone ingestion while questioning the pathologizing of this practice by psychology. It contemplates the mouth as a site of profanation as well as a mediating device of possession, digestion and knowledge.
The Flat Diamond is a conceptual and theoretical object that operates as a proposition and invitation to explore the values of collaborative art practice; the work’s central concern is exploring the roles of the author and of narrative in the generation of value in an artwork.
Kai Syng Tan's practice-related Fine Art thesis performs a discourse of ‘trans-running’ – running physically and poetically, and running as both subject and approach – as a playful methodology to transform our world today.
What is the particular status of the hand in world making? To what extent can analytic philosophy and phenomenology of perception clarify the image of the world epitomised through sculpture, its becoming, its recovering?
What is at stake within Breer’s process and distinctive employment of cinematic assemblage within the postwar period, is not only the desire to investigate non-traditional sites and techniques and to inclusively claim, say, the moving-image as an artistic medium, but to make these claims comprehensible through their aesthetic...
My research seeks to further elucidate notions and questions circling the ‘event’ both in contemporary art practices and art writing. But what constitutes an artwork as event? And is the ‘event’ an act or trace or the inevitable dichotomy of the two?
My practice-led research aims to define what it means to call a person or thing ‘cool’. Methodologically, my fine art practice is bricolage: disassembling, repurposing, and modifying objects or ideas to generate new wholes and understanding.
My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion of both subject and object.
A digital fine art practice is at the nexus of some powerful dichotomies. The digital vs the analogue, the natural vs the artificial, the subjective vs the objective, the emotions vs reason, and art vs science among them.
Moulding and casting are widely used techniques of modern and contemporary sculptural practices. But their applications are also employed beyond the disciplinary art canon, in areas not immediately associated with art making.
The research themes for the Graduate Research Weeks involve basic notions that continually inform the activity of art-making, and hence are key to the development of artistic research. The research themes this academic year were: Drawing, Colour, Projection and Body.
Mikhail Karikis' doctoral research was a methodological experiment, which employed academic writing, music composition and art practice to explore notions of the 'self' through the study of voice and sound.
This research project examined the concept of mediated presence through the perception of inanimate images coming to life, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief.
My desire to enact a reappraisal of ekphrastic hope and fear is motivated by the differences I have identified between Korean and Western understandings of time in relation to abstract painting, and of how the artist deploys his ‘life experiences’ as coordinates of productive practice.
How can we meet a tree? Is it possible to get to know trees? To hear them and become familiar with them? How intensely, under what conditions, and through what forms of knowledge do we experience and engage with “creation”, including ourselves? How is it we ethically relate to the environment?
Following Luce Irigaray's assertion that 'things could be thought differently', this project engages a methodology of feminist science fiction with enduring questions which trouble feminist movement: What makes a feminist world?...