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Makers' Tale
Get PDFMakers’ Tale was a research collaborative project between UCA and Salisbury Arts Centre in association with Salisbury Cathedral. The curatorial intention was to highlight the persistence of craft knowledge as well as innovation and experimentation within the context of modern creative practice and investigates co-operation and disciplinary crossovers.
In the face of the global pandemic, the delivery of the physical exhibition was postponed, however, Makers’ Tale will be delivered in a virtual format, in May 2020, and will be part of Salisbury 2020 City on the Move digital celebrations. This move to a digital adaptation of the initial program, allowed a triple theme of movement in ideas, movement in engineering/technology and physical movement.
Following the digital adaptation, the exhibition was installed at Salisbury Arts Centre in October 2021
Crafts Study Centre: Ceramics Curation
Get PDFCeramics Curation describes a series of connected exhibitions presented between 2015 and 2019 at the Crafts Study Centre, University for the Creative Arts. The Crafts Study Centre (CSC) has strongly featured ceramic exhibitions in its programme since relocating to Farnham in 2000, with the opening of a new purpose-built museum on the Farnham campus in 2004. Indeed, the first year (2004-2005) of its temporary exhibition programme featured solo shows by leading contemporary studio potters: Magdalene Odundo; Takeshi Yasuda; Emmanuel Cooper; David Leach; Gwyn Hanssen Pigott. This announced the CSC as a key public exhibition venue for ceramics, adding strongly to the national infrastructure.
Ceramics Curation looks at a selected series of these exhibitions, building on their thematic contexts. Ladi Kwali 1925-1984 and Michael OBrien: in Nigeria were co-curated by Professor Simon Olding, Director of the Crafts Study Centre and Professor Dame Magdalene Odundo, Chancellor of the University for the Creative Arts, and sometime Professor
Ceramics at UCA. Angus Suttie was curated by Greg Parsons working for the Ruthin Craft Centre in partnership with Jeffery Weeks and the Crafts Study Centre, and was presented at both venues. Nao Matsunaga: Raw Faces and Richard Slee: Framed were presented in collaboration with the Marsden Woo Gallery.
As Curator and Co-Curator, Simon Olding is the ‘artistic director’ of the Crafts Study Centre’s temporary exhibition programme and has overseen some 100 exhibitions held there from 2004-2020. The focus on studio ceramics relates to the very strong holdings in the permanent collections, and enables these to be seen in the context of contemporary practice. Simon Olding also curates events associated with the exhibitions, so that the makers and curators can debate their curatorial and artistic research as well as their making methodologies in a public environment. He also supports related exhibition publications with short essays and writes all exhibition texts
The body as a battlefield: a practice-based, empathic approach towards non-suicidal self-injury through schema therapy, the American Civil War, and bodily performance
Get PDFHistorically, non-suicidal self-injury (NSSI) was a hallmark symptom for diagnoses of hysteria and Borderline Personality Disorder. My practice-based research critically assesses how NSSI can be utilised as a voice for a history of trauma. From the 1970s to the present, bodily fluids were used in art to convey messages about feminism, masculinity, physical illness and racism. My research focuses on how specific feelings and states of mind can lead to the utilisation of NSSI to cope with unbearable emotions, which is seldom investigated in contemporary art practices. My methodology primarily utilises Schema theory to critically assess how dehumanising narratives can become familial legacies that can be acted out on a person’s body. My investigation into NSSI is divided into three chapters that concentrate on NSSI as a symptom of a learned state of mind, bodily fluids as evidence of perceived character, and risky bodily endurance performance as a means of connection. As case studies about violence on the body, I critically assess American Civil War photography (1861-1865) of corpses and written accounts of the Battle of the Wilderness (1864). One of my practical methodologies utilises bodily fluids as an experimental material to investigate fragmentation and evidence of trauma. My practical methodologies involve photographic experimentation with collodion and platinum processes combined with my bodily fluids and endurance performances. Chris Burden, John Duncan, Marina Abramović and Ron Athey are utilised as case studies about bodily endurance performance. My goal is to iv potentially generate empathy for trauma through abstract visual and audio evidence of endurance and coping strategies. I utilise the potential of empathy as a method to express original, experiential information about living with NSSI as a maladaptive coping behaviour. The final results of my methodologies emphasise how dehumanising interpersonal interactions can become embodied messages about self-worth
Select Dream
Get PDFSelect Dream is a street level public exhibition of artists from the south coast (and the surrounding areas). The exhibition wraps around the ground floor window display areas of the old Knight & Lee department store in Southsea (formerly John Lewis). The artwork has been reproduced on vinyl and fills the full frame of the display windows, making it accessible and highly visible within the shopping district. On of the project objectives is to give local residents and shoppers something visually stimulating to look at whilst the building is in transition – especially in the time of Covid when spirits need lifting and museums and galleries remain shut. Public interaction and feedback has been collated via Instagram site @selectdream.
The show brings together artists who either utilise or reference domestic, everyday items, architecture or aspects of day to day living. Perhaps some of the objects, would have been available to buy in the store before closure, however rather than this being a conventional still life show, the objects have somehow transcended their original form. The result of this being surreal, ethereal, humorous, engaging, and impactful from street level.
The exhibition was partly funded by Portsmouth City Council through their Community Infrastructure Levy (CIL) to support the printing and installation. The Community Infrastructure Levy raises funds from developers who are undertaking new building projects in the area, allowing councillors to reinvest back into the local community.
Duration:
Over the summer until That Group (who have bought the building) commence renovation work in September 2020
Line Up of Artists:
Hermione Allsopp
Charlotte Brisland
Ruth Collins
Stephen Cooper
Patrick Galway
Jaye Ho
Naty Lopez-Holguin
Greg Palmer
Iain Rayner
Josephine Rock
Kate Street
Paul Vivia
Cultural and creative crowdfunding: a comparative analysis of regulatory frameworks in Europe and the USA
Get PDFFabric: Touch and Identity
Get PDFThis exhibition at Compton Verney Museum is developed from the 3 year research project ‘The Erotic Cloth’ undertaken by Professor Lesley Millar (University for the Creative Arts) and Professor Alice Kettle (Manchester Metropolitan University), the first outcome of which has been the book The Erotic Cloth published by Bloomsbury Academic in 2018.
Our argument in the book was concerned with the possibilities of cloth as a membrane through which we might experience the erotic and this exhibition will develop the theoretical discourse of the book through actual cloth as art and in art.
Drawing on works from Compton Verney’s collection, as well as pieces by historic and contemporary artists, designers and makers, the exhibition will consider the varied uses of cloth as an expression of personal identity; through sexual identity, gender identity and otherness. Within the exhibition the works - like cloth itself - will flow and embrace many of the identified threads of connection between cloth and skin, making particular reference to the ways in which cloth often performs unspoken aspects of intimacy, pleasure, sensuality, love and tenderness. Of primary importance in the selection of the work has been the dialogue present in the work between the cloth, the body and the space between the cloth and skin
GeoHumanities Creative Commissions: Flying Boat
Get PDFThe Empire Flying Boat was a short-lived air service connecting Great Britain with its colonies in operation from 1937 to 1940 and for a short period post war. It offered fast (for the time) passenger travel and mail services following sea routes to Africa, the Far East, and Australia. The “Flying Boat” represented a desired mobility for 48 weekly passengers that was ahead of its time, yet unrecognisable to recent contemporary mobility. And yet the Covid-19 pandemic of 2020 has changed global mobility and aviation in ways yet to unfold. “Flying Boat” is a GeoHumanities project concerned with the spatial and mobile imaginary enacted by this service projected into this uncertain time for aviation
Extispicy in the Everyday: An Exploration of Human-Environment Binaries Through the Gut for The Royal College of Physicians
Get PDFThe workshop draws on Amanda’s artwork and research into the ancient practice of extispicy, divination using the entrails, to explore the thresholds between our bodies, and in particular our guts, and the natural and built environment, to re-conceptualise these seemingly boundaried entities. Amanda will introduce her artwork, and the practice of extispicy, and guide participants through activities to explore and problematise human-environment binaries. Participants will be directed to explore their immediate locale to perceive and gather materials that resemble intestines, for example, a disembowelling cable from a telephone exchange box; tree roots surfacing from beneath the ground; or coiled piping awaiting transplantation during road excavations. By noticing the hidden infrastructure of our immediate locale, we might also experience our insides within, conceptually and visually re-connecting the idea of the gastrointestinal tract being at the same time inside the body, and part of the external environment, outside the body border. Reconvening participants will share and discuss the materials and images collected whilst we eat a snack together. Participants will be invited to prepare a dish in advance, that for them, evokes the gut. It could be gut-friendly: yoghurt, sauerkraut; sausages, i.e. made from the actual gut as a casing; or formed by coils or convolutions, palmier biscuits, liquorice wheels, Swiss roll, (recipe suggestions could be sent beforehand). Through the act of eating, and subsequent digestion, absorption and excretion, we will enact a collapsing of human-world binaries, disrupting the false dichotomies and boundaries of inside and outside
Operation Bogeyman
Get PDFFeature length hybrid documentary (in development).
This is the story of how a clandestine military organisation, Information Policy Unit (IPU), coordinated fake satanic rituals throughout Northern Ireland during the early 70’s to create terror and confusion across the province. The ‘Satanic Panic’ scare is one of the strangest tactics carried out by the British Military and marks the convergence of a new way of working with intelligence as a weapon to combat terrorism. Members of IPU used fear and superstition as a kind of technology to tap into and confabulate the space between local supernatural lore and organised religion. The unit worked with specific sites, which where steeped in centuries of myths and occult belief systems, staged black masses and leaked the reports to local newspapers.
Working closely with the main architect of the scare, Colin Wallace, the film explores this intersection between folk history and unorthodox/asymmetric military warfare in Northern Ireland through the reappropriation of archive material in combination with impressionistic reconstruction, first hand accounts and anecdotal histories
Introduction
Get PDFThe introduction will outline significant previous work on the Biblical epic and Biblical productions, and the contribution this volume will make towards scholarship on Biblical media. After establishing this, the introduction will provide a signpost for the structure of the book and a summary of each chapter, explaining how these essays interrelate
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