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Wigs
Get PDFThis output, 'Wigs', is a creative project that investigates the wig in its disembodied state through photography and collage techniques. The cultural iconography of wigs is deeply complex, offering an assortment of poetic associations and historical anchor points. Unpacking this complexity involves a critically-engaged, practice-based approach. Research Process: ‘Wigs’ has been informed by a documentary study into the vestiges and detritus left lying around in a red-light district in Manchester. Eyre became interested in collecting fallen hair pieces (artificial extensions, weaves, etc) as found objects that she regularly discovered in the street. These were graphic metaphors for what went on in the area, either as evidence of broken femininity, quite literally ‘fallen woman’, or as symbols of the underlying violence that the women risked working there. The project utilised wigs as a way of abstracting from the specifics of the sex industry in order to explore female sexual identity in broader terms. Research Insights: Confusion hangs over an abandoned wig. Amputated from their intended context, they trigger a very deep-seated sense of the unease. The minimal, forensic style of photography further emphasises their link to the uncanny. They are inert, they pose no danger; yet they look like they could unfurl, at any moment, and come to life. The photographs are titled according to the names given to the wigs by manufacturers. However, by trying to adopt certain personalities, they highlight their ambiguity, and speak of a lack of interior and the fragility of identity – in this case the representation of female desirability and sexuality. Dissemination:
Images from this project were exhibited at QUAD Derby as part of the Format International Photography Festival (2015) and at Leeds Art University (2019) under the heading ‘Copy/Cut/Paste’ with an accompanying interpretation text by collage expert Dr Freya Gowrley (University of Derby)
Ecogon
Get PDFThe output is an artefact, in the form of an ecological boardgame, ‘Ecogon’ (2015), and the sequel, ‘Ecogon: Still Wasser’ (2018), commissioned by Gaiagames. ‘Ecogon’ is a portmanteau of ecology and hexagon. Gaiagames aims to be the first completely environmentally friendly game publisher in Germany. Ecogon and the sequel/expansion comprise a series of hexagonal cards, where 8 digital paintings of terrestrial species and 36 digital paintings representing an aquatic ecosystem were contributed. Research process: Research entailed study of Northern European species. The purpose of the game is to educate players on the diversity of indigenous creatures and their interrelatedness. This is represented through a hexagonal ecosystem, strategic gameplay, and engaging wildlife illustrations on each hexagonal card. Research drew on Chalmers’ long-standing research into creature design and SciArt. Research insights: The research found that the use of creature design principles can create engaging wildlife illustrations for game design to make ecological awareness more accessible to a wide audience. Creating engaging card art can even foster interest in traditionally non- charismatic species, such as leeches, and reveal the importance of these species within the ecosystem through the mechanics of the boardgame. Dissemination: The primary method of dissemination is a published game and its sequel. The English translation of ‘Ecogon’ (2015) was sponsored by Bavarian Academy for Nature Conservation and Landscape Management (ANL) within ELENA (Experiential Learning and Education for Nature Awareness), a trans-European cooperative project. ANL showcased ‘Ecogon’ at the International Union for Conservation of Nature (IUCN) World Conservation Congress, Hawai’i (2016). The artefact was also exhibited by peer-review firstly as the boardgame itself in Curator’s Choice, April 2019, and secondly as a printed variation within ‘Creature Design: ex femina’, 29 August – 10 October 2019, both at Leeds Arts University
ArcGIS to unity: a design pipeline for creation of 3D terrain in serious egames for geology
No full textOne of the key challenges during the development of the Virtual World Project ‘egame environment’ discussed in this issue was the creation of the digital virtual landscape from an original 2002 base map of a field area. In this [online] paper we will walk through the design pipeline that was developed by the virtual worlds project team, and discuss some of the issues that were discovered when translating from a 2D map to a 3D environment using available software, for others interested in replicating this work
Modern history vol.III
Get PDFThe exhibition Modern History Vol.III was one of three related group exhibitions realised at different venues across the North West in 2015.
The exhibitions were curated by Lynda Morris, Professor of Art History and Curation at Norwich University of the Art. Artists featured included: Pavel Buchler, Rosalind Nashabibi & Lucy Skaer, David Osbaldeston, Conrad Atkinson, Lubaina Himid, Magda Stawarska-Bevan. The purpose of the exhibitions was to offer alternative perspectives on cultural, social, and political change, from different generations of artists based in the North West of England. To present a microcosm of dialogues occurring, articulating how these are intertwined with the world today. The guiding principle behind the exhibitions was that history is easily forgotten, and efforts should be made to remember it. Modern History Vol III addressed national and international, social and political issues post-1969. I presented a work, produced with artist Emma Rushton, which had previously been shown in solo exhibitions in the Netherlands (2007) and Germany (2009). The film work Will Someone Stop You...? consisted of edited archival footage (colour, 17mins) and a wall text, addressing the illegal flight of West German Mathias Rust in to Moscow’s Red Square in May 1987. A publication was produced, featuring documentation of work in the exhibition along with an introductory essay Modern History by Lynda Morris and exhibition essay The Owl of Minerva by Richard Parry, Curator, Grundy Art Gallery. The exhibitions were funded by Arts Council England, with support from Lancashire City Council and Manchester School of Art and took place between April and November 2015. Modern History Vol.1, Grundy Gallery, Blackpool, (25 April - Saturday 13 June 2015); Modern History Vol. 2, The Atkinson, Southport (18 August-8 November 2015); Modern History Vol. 3, at Bury Art Museum & Sculpture Centre ((19 September-21 November 2015)
Sharon Harvey: Photographer [review]
Get PDFSharon Harvey is a photographer who undertook her BA(Hons) Fine Art, Printmaking & Photomedia at Central St. Martins College of Art & Design, London. As well as exhibiting extensively in Leeds, London and Melbourne, Australia, Sharon’s images have also been reproduced in various publications and photobooks including Northern Gothic (2014), Ultraviolet (2014), Black and White Photography Magazine (2012) and Lenscratch (2013), an online contemporary photography blogzine. Sharon works with a range of photographic processes that enable the materiality of the resulting photographs to become apparent
Manual v.2.0: Dibuix per La Plaça Porta de Santa Catalina (A drawing for Placa Porta de Santa Catalina)
Get PDFThe output is an exhibition comprising a series of drawings, including an outdoor three-dimensional site-specific drawing. It was a collaboration between Cumberland and artist, Michael James Walker. The tasks were shared equally according to individual strengths. Research process: Sited in Plaça Porta de Santa Catalina, the drawing responded to the typography of the square and referenced the history of its public use. Central to the project is an investigation into the nature of serial bodies of work, the complex relationships between repetition, reproduction and difference and its manifestations as expanded drawing practice.
Research insights: An outdoor three-dimensional site-responsive drawing was developed revealing the artist’s interaction with a distinct place in Spain. It was created during a limited and specific period of time when her practices were synthesised with the work of others, demonstrating a responsive approach to particular site constraints. The exhibited drawings inhabit carefully chosen spaces and in so doing create a visual dialogue with the surrounding surfaces, drawing attention to the very particular sense of place where the works have been sited. The materiality of the work and its relationship to place is important and the viewer gains a greater insight into the work by viewing it in situ. Visually the artists works can look very different; though the repetitive processes or forms suggest a familiar connection, whilst the temperature, texture and shape of the site become apparent and human in its scale. Dissemination: The project was disseminated at ABA ART LAB, Palma de Mallorca, as part of the Nit del’Art 15 programme. It was the first external installation to be included in this event
Printmaking in changing contexts
Get PDFA presentation exploring how shifts in technology and production have changed the meaning and value of printmaking, particularly with regard to traditional/craft processes
Virtual landscapes: Geoscience education in digital environments
No full textThe output is a digital artefact designed by Annabeth Robinson in collaboration with the University of Leeds School of Earth and Environment, who supplied the underpinning geological knowledge and understanding. The aim was to build a virtual environment where geology students could learn and practice geological mapping skills. Research process: Using an approach based on serious games design, Robinson developed a virtual landscape using the UnityTM game engine. Natural phenomena, such as rocks, hills and outcrops, were recreated in a virtual space to accurately emulate the physical world, thus providing the student with an authentic field trip experience. The resulting artefact was tested, evaluated and trialled with geology students. Research insights: It was found that scale must be carefully considered when using real topography and real geological maps in the real world; what looks plausible on paper does not always translate in the virtual environment. It highlighted the potential use of virtual reality field trips in order to widen participation within geology. Furthermore, through the development process, constructed landscapes were found to be more efficient. Dissemination: The artefact is openly available for use and the research has been disseminated at conferences including: - Association for Learning Technology annual conference, 2015. - Geological Society of America annual meeting, Denver, Colorado, 2016. - Geological Society of America annual meeting, Seattle, Washington, 2017. - JISC Digifest, 2017. The project was also acknowledged for Outstanding Digital Innovation in Teaching or Research by the Times Higher Education Awards in 2016
MANUAL v1.1
Get PDFThe output is an artist’s book, or ‘printed exhibition’, that reflects Cumberland’s on-going engagement with artists and gallerists in Palma de Mallorca. Research Process: Central to Cumberland’s research practice is an investigation into the nature of a serial body of work, the complex relationships between repetition, reproduction and difference and its manifestations as expanded drawing practice. The process of making and documenting exhibitions leads to the development of strategies of dissemination, extending the reach of a body of work, and making new connections. Research insights: A new collaborative project, with a new audience and new network with galleries, curators and artists in Palma, emerged as a result of continued engagement and communication. The images show all aspects of the exhibition, which enhance engagement with the exhibition making processes. Cumberland discovered how the process of designing and editing a limited edition, print-based exhibition can co-exist with an event exhibition to provide relevant information, exist as an artwork in its own right, and also extend the life and reach of the event. The printed exhibition was constructed and arranged to create a photo story revealing different insights into expanded drawing in relation to the magazine format. The document illustrates all aspects of the exhibition and how it can be considered a practice research. Dissemination: Cumberland participated in ‘Art Palma Brunch’ April 2015 and disseminated this publication through a number of participating galleries. The event is organised by the Art Palma Contemporani Associació de Galerístes
Tomorrow belongs to nobody
Get PDFThe output, Tomorrow belongs to nobody, is an artefact that explores our relationship with Coventry’s post-World War II architecture. It was commissioned by Coventry Artspace. Research process: Crouch’s research is primarily carried out through her artistic practice, the creation of exhibitions and site-responsive public artworks. The research explores meaning-making as an embodied and indeterminate process. The work combines research interests in site-specific art, artists moving image and narratives of subjectivity. Producing this work involves reading spanning art, cultural studies, cognitive linguistics and sociology. The research explores subjectivity, as an historical construct and a lived, phenomenological experience, and the relationship between visual and verbal modes of representation. Research insights: Referencing City Architect Donald Gibson’s aspiration to cultivate “a healthy body, a cultured mind and a radiant soul” (1943) Tomorrow belongs to nobody queries this idea of rational agency and considers the increasing individualisation of society over the years since the inception of modernist Coventry. Whilst we may now question modernist ideals of rationality and progress ought we still value the utopian social ideals embedded in Coventry’s buildings? Dissemination: The output was screened at the following: January 2019 Screening: Interruptions, Holden Gallery, Manchester. Programmed by Chris Paul Daniels. November 2016 Screening, Turning Point West Midlands re-launch event, Eaton House. Programmed by Ryan Hughes.
22 June–7 July 2016 Exhibition, ‘City Arcadia Festival,’ Arcadia Gallery, Coventry. June 2016 Launch screening, The Albany, Coventry with Coventry Artspace