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Grimsby School of Art architectural facade
Get PDFThe output is a design commissioned for the façade of the Grimsby School of Art building, in collaboration with Ryder Architecture and RMIG. Virgoe was responsible for the visual design. It was manufactured from perforated anodised aluminium. Research process The panel designs began as drawings, that were then reconfigured digitally, and produced as sheet panels. The process of creating an image through various sizes of perforation had previously been used for more organic, or photographic images. The geometric nature of the design presented new challenges both in terms of developing the digital designs and applying these to the panels. The perforated skin of the building is illuminated at night from behind, and as a result the flat schematic drawing becomes more illusory and three dimensional at night. Research insights The intention of the design was to convey something of the nature of the work that was going to take place in the building, and as such the design needed to be fluid and changing, rather than a distinctive image that would quickly become too familiar. The image was conceived as something that could express universal ideas about the creative processes and practices that the building facilitated. The design was equally a response to the potential of the medium and the site, along with the lighting that would be visible through the perforated sheets.Dissemination In addition to the building opening, the design was disseminated via Architects Journal (August 2015), Architects Data File (August 2015), blogs, including Refurb and Developer update (September 24 2015), the architect (Ryder) and manufacturer (RMIG) websites and the media
Reflections on The Good, The Bad & The Ugly
Get PDF"Reflections on The Good, The Bad & The Ugly" is creative project by Sheila Gaffney, which was disseminated simultaneously as an exhibition and published written narrative.
Research Process: In this project Gaffney demonstrates publicly the way in which life writing, as part of her methodological proposition “Embodied Dreaming as a sculptural practice informed by an idea in the psychoanalytical writings of Christopher Bollas”, reveals the interpretative approaches that she uses and the considerations she makes in her artistic research. The written element, which Gaffney considers to be a live backstory of her making process, uses particular psychoanalytical ideas of Christopher Bollas as a way to show her insight of the mental activity that is in play in when she is making sculpture. Gaffney also uses Bollas’s ideas within her written narrative to explore the formational learning experience of a sculpture student, in preparation for entering sculpture in Britain, in the English art school, in the period which she studied.
Research Insights: This creative project provides insights into the practice research question that asks: how can sculpture convey what it is like to inhabit a woman’s body as the researcher knows it, which is differently positioned from the masculine contributions to the history of figuration that constitute the European and British sculptural canon from Rodin to the present day?
Dissemination: This work was part of “Thought Positions in Sculpture”, an exhibition created and curated by academic Dr Rowan Bailey at Huddersfield Art Gallery. A one-day symposium also accompanied the exhibition called “Thought Positions: Between Sculpture and the Archive”, which included speakers from Sheffield Hallam University, Leeds Arts University, Henry Moore Institute and the Tate.
The written text has been published and disseminated through the University of Huddersfield, and there is a related video-recorded interview on Vimeo
#prank4offices
Get PDFThe output is a creative project, #pranks4offices, consisting of a series of
photographs. Research process: Over several years, Welding has regularly searched the hashtag ‘#officepranks’, and collected an archive of hundreds of vernacular images. This led him to make informal comparisons on an aesthetic and process level with the work of art photographers. Iamronjay42 and Iaminstapauli0 were the Instagram names of two fictional office workers that engaged in a fictional office prank war. These characters were created as a vehicle to make the project #prank4offices for FORMAT International Photography Festival in 2015. Their office desks were set up in the exhibition venue at either end of the room, positioned facing each other. Over a number of weekends in March 2015, a series of pranks were staged on their desks, photographed then dismantled. The photographs were shared on the Instagram accounts, with the characters commenting on each other’s posts and continuing the fictional narrative. In the final exhibition, the two desks remained; one was surrounded by 700 plastic cups filled with water, the other completely wrapped in cling film. The audience was directed to view the photographs of the previous pranks on their phones whilst they stood in the exhibition space, revealing evidence of the office prank war.
Research insights: The project raises questions about the role of creativity within the sphere of art practice and within everyday environments and the project playfully considers the merging of these two areas of production. The project also continues an ongoing critique of our relationships with daily working lives, where creative activities often run counter to the wider company aspirations of productivity. Dissemination: The project was disseminated at the FORMAT International Photography Festival, Derby, 13 March – 12 April 2015
Samples
No full textThe outputs is an artefact, Samples, comprising a collection of samples created when conducting practice based research into the manufacturing on sustainable papermaking for print. Research process: Samples were created using recycled and reclaimed stocks using traditional papermaking processes developed cottage industry environments and in line with the principles of the slow movement. Rainwater was collected to ensure every stage of the process was adhering to a reclaim, refuse and adapt philosophy. Research insights: The insights gained were about practice-based research and archiving with data collection as a method. This resulted in practical research forming a practice in itself. Dissemination: The research was disseminated via exhibition as part of The Process Continues at Leeds Arts University, 26 January – 13 March 2015
A share of a pensioner's Christmas 'bonus'
Get PDFThe output is a series of exhibitions, created as part of collaborative research, consisting of 26′ audio work by Esther Johnson and Debbie Ballin, a photographic series by Esther Johnson, a selection of artefacts, from the People’s History Museum and NCCME archives curated by Johnson and Ballin and toys donated to children and families of striking miners in Xmas 1984. Research process: A share of a pensioner’s Christmas ‘Bonus’ is part of a larger research project titled Echoes of Protest, investigating the legacy of being involved in significant protest movements from a child’s perspective. The project uses creative methodologies to develop new understandings of the role protest can play in the politicization of children and the long-term impact of its aftermath on their lives. The first phase of this research explores how acts of generosity by total strangers made Christmas possible for children of striking miners in 1984, and what it was like to grow up in the shadow of the Miners’ Strike. Research Insights: These exhibitions offer multiple perspectives on the research and bear witness to the untold stories of children of the ’84 –’85 Miner’s Strike. This point of view of the Strike was not well documented and individuals interviewed had never previously told their stories from this perspective. This led to insights into the way formative experiences of the Strike affected contributors’ political views in adulthood. Creative methodologies enabled museum audiences to gain an extended understanding of the emotional experience of history and to connect to these stories. Exhibiting archive materials alongside audio-visual work reinvigorated and expanded on ‘official’ historical accounts of the Strike. Dissemination: The output was exhibited at People’s History Museum, Manchester. 5 December 2015 – 18 January 2016 and National Coal Mining Museum, Wakefield. 12 November 2016 – 18 January 2017
Inclusion in the art and design curriculum: revisiting Bernstein and 'class' issues
Get PDFStudents who have started their undergraduate degrees in art and design with an Access to HE diploma rather than A’ Levels and a Pre-BA Foundation Course can be described as ‘non-traditional’ because they have had different previous learning and life experiences. They are likely to be seen as mature and also to come from under-represented groups in higher education. This discussion revisits the work of educational sociologist Basil Bernstein in order to explore how non-traditional students with diverse backgrounds are at times excluded from the visible and invisible pedagogies of art and design higher education. Bernstein has described how seemingly opposing pedagogic models act selectively on different social groups, privileging the middle classes. Bernstein proposes that educational institutions construct curricula based assumptions about the currency of students’ skills and their access to resources such as time and space. By looking at the pedagogic devise of studio practice, which is often central to an art and design education, it is possible to see it as an example of an implicit invisible pedagogy which is framed by a more explicit visible one. Due to aspects of surveillance that are associated with an invisible pedagogy non-traditional students from backgrounds other than the middle classes are in danger of being misread by tutors. In turn these students are likely to misread the significance of studio practice as a means of being creative
New territories of the filth dimension
Get PDFA solo exhibition of drawings and a ceramic embedded installation. This exhibition focused on allegorical drawings made in response to stories told to the artist by recent migrants to Chapeltown in Leeds. The exhibition was an opportunity to show both large drawn images that were designed to be seen in sequence, as well as to exhibit an installation that included specially designed and printed wallpaper, as well as fabrics and ceramics. The exhibition was also used to showcase a new set of specially designed cards that were used to help audience members generate their own narratives and there was a closing performance piece that was initiated with an artist’s talk
Nor stamp hard on the ground neither
Get PDFCommissioned by Pavilion, Leeds responding to Whitley Beaumont – a landscape that has been attributed to the landscape architect Lancelot 'Capability' Brown. Exhibited at The Calder, The Hepworth Wakefield as part of 'The Follies of Youth' exhibition. Nor stamp hard on the ground neither is a moving image artwork by Amelia Crouch that depicts a series of actions, performed in the landscape and based on instructions from an 18th Century etiquette book about how a gentleman ought to walk. It combines two things that appear natural (Brown’s landscapes and a particular manner of walking) but that are actually cultural affectations from a particular period in history
Karen Tobias-Green
Get PDFThe entire document brings together materials produced for and during a PhD by Design-study and workshop day held at Leeds College of Art on May 14th 2015. This day was-dedicated to exploring multiple possibilities of innovatively disseminating practice based design research. This particular presentation is concerns the role of writing as part of a visual practice. I believe words are-powerful beyond measure, that no language is free from agenda (or gender, for that matter) and that writing is every bit as much an art as any of the visual arts. Like the visual arts, I think it is both incremental and editable and also inspired, inspiring and occasionally heavenly. I try to work by discourse, and by making and by engaging on a very real level with words, text, language and people. This presentation asks how do we How do we make the complex accessible without losing its gift of difficulty. Difficulty as in the acceptance that there is no single truth or privileged knowledge but instead a rhizomic interplay that demands the asking of new questions, or the asking of old questions differently
A device suitable for protecting and / or allowing cleaning of a bike and / or vehicle component and method of use thereof: technical report
Get PDFThe Brake Shield is an innovative new product for cleaning and maintaining the moving parts of a bicycle drive train and is the only one of its kind. It has a simple yet effective design of a polypropylene barrier that sits between the spokes and the cassette to protect your disc brakes and wheel rims whilst cleaning and/or lubricating of the gearing and drive train is undertaken. The nature of the product allows this difficult and unpleasant task to be performed in a quick, tidy and efficient manner. Many people just ignore this part of their bike; they put up with a muddied cassette and chain, either cleaning them periodically, maybe monthly, or just replacing them when they become unworkable which is wasteful and unsustainable. With the Brake Shield 'little and often' cleaning is made simpler and easier. The Brake Shield's innovative tray catches all the cleaning fluid, dirt and oil, allowing this dirty task to be undertaken anywhere without making a mess. A more formal abstract taken from the Patent Application Publication: A device is provided for protecting, allowing cleaning, servicing and / or lubrication of one or more components of a bike or vehicle in use. The device is formed from at least one blank of material including a first portion arranged to act as a shield element so as to at least partially shield at least one component of the vehicle or bike in use, and at least a second portion. The second portion includes at least one wall joined to the first portion by at least one fold line. The at least one wall and fold line are arranged such that when the second portion is assembled and / or erected in use it defines a tray or container portion joined to the first portion