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Performing Mersea Island: Out of Place
No full textArtist group Sensingsite asks “how do we really know a place?”. The group brings their collective, material and sensory responses to Mersea Island, in the outer reaches of the Thames estuary, into the APT Gallery space, alongside Deptford Creek, connecting these radically different tidal locations.
Low-lying and vulnerable, the effects of climate change and sea level rise on Mersea Island are already evident in a spectacular breach of the sea defences leading to a ‘managed realignment’. With their distinctive, experimental approach to research and production, the group’s work reflects on the dynamic unpredictability of the island landscape and by extension engages with an entropic sense of place. The fluctuating, unstable intertidal zones have been a focus of the group’s recent investigations. Unruly dialogue with changing terrains and currents is configured in the architectural site of the gallery as physical and ephemeral assemblages with varying powers of affect.
Initially restricted by the pandemic, the processes developed during lockdown remain key to the group’s methods. The initial use of Google Street View led to new techniques of media representation and ways to ‘perform’ the island ‘out of place’; online Miro whiteboards act as fluid, creative platforms for a more collaborative way to research, produce and fold back into physical encounters with the island. Tools and technologies used are extensions of the individual: human, imitative vocalisations integrate with non-human sounds; multi-camera recordings from phones attached to limbs convert bodies into instruments of sound and sight. Objects and images collide. As an animate, affective site Mersea Island becomes a drawing machine or a performing agency which is tapped into.
These enquiries, in part an interrogation of the term ‘landscape’, are re-employed in the APT Gallery space. Rather than an inert, stable and singular body of representation, landscape is presented as a process that is continually worked over. Diverse experiences, actions and materials produced by the group become continuously changing assemblages that rework what place might be.
Sensingsite’s sitework actively resists the framing of a single viewpoint or theoretical position, in favour of the potential for continuous intervention, engagement, and experimentation. In this exhibition, organisational aesthetics (the way we work together) unites psycho-mechanics and environmental dynamics - revealing the workings of internal and external worlds
Marie Duval: the methods and politics of attribution
No full textVisual journalist and actress Marie Duval (Isabella Emily Louisa Tessier, 1847–90) was one of the most unusual, pioneering, and visionary cartoonists of the later nineteenth century. Her work focused on the humour of the types of people she knew, in a period of diversifying leisure activities for working people. Frequently importing the ethics and practices of the theatre into the periodical press, Duval’s work distributed marginalized ideas (such as a woman employing masculine humour, or feminizing employment in the print industries) to a wide readership, increasingly rendering these ideas and types of behaviour unremarkable. This chapter outlines Duval’s achievement as a visual journalist and the ways in which her work continued to be obscured, stolen, and erased, through phases of denial, exclusion, and neglect, from the 1880s onwards. The chapter describes the specific problems that the mechanisms of this obfuscation and erasure continue to create, for attribution of both signed and unsigned work by Duval, most recently because of a lack of attribution in the metadata of digitized collections
Urban Atlas Helsinki: A Painting Research Project
Get PDFThis catalogue was produced to accompany the exhibition 'Urban Atlas Helsinki' by Tom Cardwell at University of Helsinki, 28 April - 31 May 2023. The exhibition presented a series of works responding to urban visual cultures in Helsinki, produced for the Postdoctoral Fellowship in the Arts at Helsinki Collegium for Advanced Studies (2022-23).
The project used painting practice and academic research to investigate the decoration of electrical distribution cabinets on the streets of Helsinki. These sites are populated with posters, stickers and graffiti that reveal a diverse mixture of narratives and agendas. Formally, they relate to the rectangular picture plane of painting. Comparisons are made with the Mnemosyne Atlas created by Aby Warburg in the 1920s, revealing links to art historical analyses
'The Picture Connects All the Dots': The role of art historical image maps in Deadwind Season 3
Get PDFConference paper presented at EUPop 2023 conference, University of Stirling, 3-5 July 202
Helix/Idyl
No full text1. The Hikers (2022, acrylic on linen, 76 x 61cm)
2. To Dance… (2023, acrylic on linen, 91.5 x 1220 cm)
3. Mũmbi’s Return (2019, acrylic on linen, 61 x 76cm)
4. Descending A Dune (2020, acrylic on linen, 76 x 61cm)
5. On Episode Seven (2020, acrylic on linen, 61 x 76cm)
6. Kumasi (2023, acrylic on linen, 91.5 x 1220 cm)
7. Foso (2022, acrylic on linen, 51 x 61cm)
8. Takoradi (2022, acrylic on linen, 61 x 51cm)
9. Axim (2022, acrylic on linen, 61 x 51cm)
The works listed above were exhibited in a solo exhibition of new and recent paintings held at the Niru Ratnam Gallery, in London. The exhibition proposed an intersection of two artistic themes: 'Idyls' are paintings which depict black family groups relaxing in serene countryside and parklands; 'Helix' is a series of works which explore the abstract and symbolic qualities of black hair and its styling
Elks in the Rear Window
No full textAn exhibition prompted by the closure of IKEA Tottenham.
Artists: Margot Bannerman, Blake Carlson-Joshua, Jade Chao, Florence Dent, Anna Harding, Anna Hart, Dunya Kalantery, Pil and Galia Kollectiv, Maeve Laurence, Lily Stevens, Brettenham Primary School
Boundary Images
No full textHow are images made, and how should we understand their limits, capacities, and forces in digital media?
Boundary Images investigates the political, material, and visual work that images do to cross and blur the boundaries between the technological and biological and between humans, machines, and nature. Exploring the limits of the visual and beyond what can be seen, Boundary Images posits these boundaries as starting points for the production of new and radically different ways of knowing about the world
The State of Anti-Social Behaviour on Social Media: A Census-balanced Survey About Anti-Social Behaviour on Social Media
Get PDFOne of the early promises of social media is that it would give voice to the voiceless and turn the world into a utopic connected village. While we are more connected than ever before, in recent years, social media usage has also been linked to a rise in anti-social behaviour online.
In the context of this report, antisocial behaviour on social media is defined as any interaction between two or more users that is hateful, harmful, or contrary to the norms of an online community or platform. This can include cyberbullying, hate speech, trolling, doxing (revealing one’s personal information without consent), and spreading disinformation about someone or something.
Around the world and here in Canada, users are grappling with the impending normalization of aggressive behaviour, hostility, and toxic discourse in online spaces that demand more precise attention and interventions from policymakers, social media platforms, researchers, and civil society organizations.
At the individual level, anti-social behaviour on social media has reallife psychological and emotional consequences for people. At the community and organizational level, anti-social behaviour can impact work performance and relationships, community ties, and lead to stress and burnout. At the societal level, there is a growing concern that some types of antisocial behaviour, such as hate speech, can erode public trust and confidence in democracy itself.
Using a census-balanced sample of the Canadian population (18+), this report aims to empirically shed light on this dangerous trend by analyzing how anti-social behaviour manifests on social media and how it affects different demographic groups in Canada.
To establish a point of reference, the report opens with a brief overview of the social media landscape in Canada (Section 1). The following three sections examine Canadians’ experiences with different types of anti-social behaviour on social media (Section 2), the impact of anti-social behaviour (Section 3), and the responses to acts of anti-social behaviour (Section 4)
Multiple Viewpoints and Other Digital Collaborators
Get PDFCollaboration is a process in which different perspectives matter. Who, what, why, where, when, and how, are a few registers indicating the diffractive possibilities surrounding the notion of collaboration. These imbricated factors, over which some actants have disproportionate impact, responsibility, and authority, fundamentally affect the direction projects and other matters of importance will take. Here, we endeavour to extend the knowledge derived from collaborations into a much richer multivocality, surrounding two artefact assemblages, both held in institutional settings with restricted access. One is a carved stone, called the Nessglyph, currently lodging in the University of Southampton. The other is a distributed assemblage of Blackfoot belongings held by several UK Museums. We helped make both these collections available to invested collaborators via remote viewings employing in the first case an open crowdsourced collaboration model, and in the second we consider some of the dynamics of a closed collaborative group. We conclude that both collaborations require an openness that is only afforded through constant work and constant re-working as the artefacts and images in these projects constantly fold into their own omissions so that the work can respond to the politics and ethics of image making
Painting Landscape
Get PDF'Painting Landscape' was a 30-minute illustrated presentation for a symposium held in conjunction with the group exhibition 'Arcadia for All? Rethinking Landscape Painting Now'. The symposium was held on 22nd June, 2023 in the seminar room of The Stanley & Audrey Burton Gallery at Leeds University.
The university website invited attendees to:
'Challenge your views on what landscape curation and painting can mean in this free one-day symposium.
Hear from artists and curators presenting and discussing the possibilities of curating art exhibitions on landscape and nature, with case studies from both national and local art galleries including Tate Liverpool, Leeds Art Gallery and The Stanley & Audrey Burton Gallery.
In the afternoon there will be a round table comprising painters represented in the exhibition who will be discussing their practice and the vibrancy and vitality of landscape painting today. These will include David Ainley, Kimathi Donkor, Geraint Evans, Mark Fairnington, Barbara Howey, Paula MacArthur, Clare Thatcher, Judith Tucker, Rebecca Partridge and Joanna Whittle.'
My lecture was an analysis of the role of landscape in my paintings, one of which ('Call Me Blessed, 2016) was on display in the exhibition