Arts University Bournemouth
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Congested Terrain: Contested Memories. Visualising the Multiple Spaces of War and Remembrance
Get PDF‘Stasis’ is widely accepted as the pre-eminent condition of the conflict on the Western Front; a war of congealment, fixity and stagnant immobility fought from defensive earthworks that were intended to be temporary but quickly became permanent.
In the battle zones a new spatial order emerged. Beyond the superficial safety of the front-line parapet was No-Man’s-Land; a liminal, unknown space, a ‘debateable land’ that could not be fully owned or controlled. Far beyond lay a green and unspoilt distance, a ‘Promised Land' that was forever locked in an unattainable future. This was the domain of imperial development and potential exploitation.
This chapter explores the spatiality of conflicts on the Great War battlefield, and draws on the work of several British artists, cartographers and surveyors who attempted to explore and lend visual form to the chaos. Through the act of mapping and drawing they attempted to systematize the outward devastation, whereby trees would become datum points, emptiness was labelled, and the few fixed features of the ravaged land became the immutable co-ordinates of a functional terrain, a strategic field, where maps where predicated as much on time as of place
Pairs
Get PDFPairs: - / -, The Depot, London, 19, 27 June & 3, 10 July 2017. Curator.
Featuring: Jennifer Nightingale/Simon Payne, Nick Collins/Cathy Rodgers, Nicky Hamlyn/Neil Henderson, Amy Dickson/Jamie Jenkinson
Pairs: - / -, was a curated series of four events, each of which featured two artist-filmmakers, who presented new work, alongside a work that inspired them, and was introduced by a printed version of a conversation between the featured pair. Its combination of works and words, and consideration of site, facilitated research into creative, critical and curatorial practice and its public manifestation.
My curatorial practice examines film and video exhibition configuration, the resulting spectatorship and addresses the need to develop more accessible knowledge exchange, through challenging the passivity of most film presentations. Pairs’ furthered my investigation into the importance of discursive programming, how through this developmental methodology artists and audiences can experience a more rewarding encounter.
The series presented diverse experimental film and video practices through peer-to-peer and artist-to-audience dialogues. The pairs had shared and/or contrasting areas of interest, and their transcribed conversations, which is a neglected area of research, reflected on their own and one another’s practices and informed the series. Further to this, the artists’ inspirational film choices provided tracible linkages. The works were presented in their original formats – film and digital projections (single and double screen) and multi-media performance – reinforcing the importance of medium specificity within this field. Some of the artists are key figures in the history of experimental film and in combining their work with that of younger artists, the ‘pairings’ built on the field’s legacy and dissemination.
This configuration allowed related debates - contextual histories, thematic focus, exhibition strategies - to occur in an insightful and relatable manner. It reflected the featured works’ experimental intent, a questioning of form and content, created an active encounter between the works and their reception, always an experimental aspiration, and offered a more interactive experience through its discursive assemblage
North: Fashioning Identity
Get PDFIn 2018 Ellison was invited by curators Lou Stoppard and Adam Murray to exhibit a series of his Cumbrian portraits and landscapes in North: Fashioning Identity at Open Eye, Liverpool, Somerset House, London and Civic Centre, Barnsley. This celebrated exhibition generated worldwide press coverage and formulated new research opportunities into regional identities in Photography and Fashion. Following this celebrated exhibition, Ellison was invited by Centre Centre to publish Tek Hod, Embroidered Wrestlers of the North.
Research Imperatives
Ellison explores the cultural significance of embroidered costumes of regional sport Cumberland and Westmorland wrestling. The costume of white cotton vest, velvet underpants and white cotton long john’s features motifs that represent or identify the wrestler. Commonly, embodying the idyllic picturesque image of the English Lake District, this costume represents the celebration of rural life depicted by vernacular embroidered symbols. Usually associated with nature, the costume embroidery is sewn by the family who wrestle, often abbreviating the initials of the wrestler and decorated with flora and fauna featuring the native landscape of Cumbria and much celebrated English Lake District.
Ellison researched critic John Ruskin’s connection to the arts and crafts in the Lake District and how his patronage of craft influenced the style of embroidery seen on wrestling costumes. Ellison’s subsequent documentary photographs (2008-2018) follow the wrestling contests in the landscape and trace the performance of tradition. Furthermore, his cross disciplined analysis of embroidery and photography traces the ‘skilled’ labour of the arts and crafts in the Lake District against the ‘unskilled’ vernacular embroidery seen on wrestling costumes from archival photographs.
The book Tek Hod, Embroidered Wrestlers of the North brings together a documentary photographic practice alongside a rigorous research project that re-frames knowledge of the arts and crafts and the picturesque through archived photographs used to chart the evolution of craft - crediting amateur makers of embroidery
Black Mirror: Magic in Art
No full textBlack Mirror: Magic in Art was published to accompany the 2017 group exhibition of the same name held at TheGallery, AUB, and curated by Associate Professor Dominic Shepherd. Conceived as a curatorial space in its own right, the book brings together essays and biographical statements of all the artists participating in the show. The typographic design, layout, images and binding have all been given special attention to highlight the magical character of the work and the book as object
Making Vintage 1940s clothes for women
No full textThe 1940s were an iconic period of women's dress history, with the familiar square shoulders, crepe tea dresses and seamed stockings paired with red lips, victory curls and head scarves. This book explains the period's sewing techniques and makes a range of 1940s outfits to recreate the look of those vintage years. With detailed step-by-step instruction and over 300 photographs, it captures the style of the time and explains the impact of wartime austerity on the cut and construction of women's dress
Pairs
Get PDFPairs: - / -, The Depot, London, 19, 27 June & 3, 10 July 2017. Curator.
Featuring: Jennifer Nightingale/Simon Payne, Nick Collins/Cathy Rodgers, Nicky Hamlyn/Neil Henderson, Amy Dickson/Jamie Jenkinson
Pairs: - / -, was a curated series of four events, each of which featured two artist-filmmakers, who presented new work, alongside a work that inspired them, and was introduced by a printed version of a conversation between the featured pair. Its combination of works and words, and consideration of site, facilitated research into creative, critical and curatorial practice and its public manifestation.
My curatorial practice examines film and video exhibition configuration, the resulting spectatorship and addresses the need to develop more accessible knowledge exchange, through challenging the passivity of most film presentations. Pairs’ furthered my investigation into the importance of discursive programming, how through this developmental methodology artists and audiences can experience a more rewarding encounter.
The series presented diverse experimental film and video practices through peer-to-peer and artist-to-audience dialogues. The pairs had shared and/or contrasting areas of interest, and their transcribed conversations, which is a neglected area of research, reflected on their own and one another’s practices and informed the series. Further to this, the artists’ inspirational film choices provided tracible linkages. The works were presented in their original formats – film and digital projections (single and double screen) and multi-media performance – reinforcing the importance of medium specificity within this field. Some of the artists are key figures in the history of experimental film and in combining their work with that of younger artists, the ‘pairings’ built on the field’s legacy and dissemination.
This configuration allowed related debates - contextual histories, thematic focus, exhibition strategies - to occur in an insightful and relatable manner. It reflected the featured works’ experimental intent, a questioning of form and content, created an active encounter between the works and their reception, always an experimental aspiration, and offered a more interactive experience through its discursive assemblage
Pairs
Get PDFPairs: - / -, The Depot, London, 19, 27 June & 3, 10 July 2017. Curator.
Featuring: Jennifer Nightingale/Simon Payne, Nick Collins/Cathy Rodgers, Nicky Hamlyn/Neil Henderson, Amy Dickson/Jamie Jenkinson
Pairs: - / -, was a curated series of four events, each of which featured two artist-filmmakers, who presented new work, alongside a work that inspired them, and was introduced by a printed version of a conversation between the featured pair. Its combination of works and words, and consideration of site, facilitated research into creative, critical and curatorial practice and its public manifestation.
My curatorial practice examines film and video exhibition configuration, the resulting spectatorship and addresses the need to develop more accessible knowledge exchange, through challenging the passivity of most film presentations. Pairs’ furthered my investigation into the importance of discursive programming, how through this developmental methodology artists and audiences can experience a more rewarding encounter.
The series presented diverse experimental film and video practices through peer-to-peer and artist-to-audience dialogues. The pairs had shared and/or contrasting areas of interest, and their transcribed conversations, which is a neglected area of research, reflected on their own and one another’s practices and informed the series. Further to this, the artists’ inspirational film choices provided tracible linkages. The works were presented in their original formats – film and digital projections (single and double screen) and multi-media performance – reinforcing the importance of medium specificity within this field. Some of the artists are key figures in the history of experimental film and in combining their work with that of younger artists, the ‘pairings’ built on the field’s legacy and dissemination.
This configuration allowed related debates - contextual histories, thematic focus, exhibition strategies - to occur in an insightful and relatable manner. It reflected the featured works’ experimental intent, a questioning of form and content, created an active encounter between the works and their reception, always an experimental aspiration, and offered a more interactive experience through its discursive assemblage
MAMI: A Modular Accessible Musical Instrument
Get PDFExploring musicactively can be restricted for someone with cognitive, physical, or sensory impairments. They may face barriers to participation and diminished experiences between their musical expression and the music making means available to them. Technology can be used to bridge these gaps and focus on a person’s capability to create personal instruments that allow for active music making and exploration of sound. Thisdoctoral research aims to look at the use of music technology within the school setting and the needs of the users and those around them.Drawing on this and following an Action Research methodology, a tool will be developed following a participatory design process that utilises both hardware and software, in a modular fashion, to provide a flexible and adaptable system to facilitate music making and sound exploration.The desired outcome will be a toolbox that allows users to put together instruments that suit the needs of those playing them allowing access to musical expression
The Queen of Spades
Get PDFThe Queen of Spades Project is an experimental collaborative project by Joel Lardner and Paul Roberts, Illustration at Arts University Bournemouth. The project explores Alexander Pushkin’s supernatural tale of obsession and risk, The Queen of Spades (1834), and expands on the visual language of Joel Lardner’s 2011 illustrated picture book of the same name. The picture book has always appealed to Illustrators in that it encourages the expansion of a particular visual language and provides a platform with which to build, explore, and examine imaginary worlds.
The research imperative throughout the project has been to harness emerging games technology in order to transform how storytelling and picture books can be understood and reinterpreted. VR technology provides the potential for readers to inhabit a story and offers multi-dimensional insights from within a text. The ability to alternate between characters or intervene at points within the plot opens up new insights as to how stories will be enacted and experienced. Illustrators are uniquely placed to adopt and occupy this new fascinating and portentous field of study -
whether as games makers, or interactive storytellers. An animated experimental film completed in 2016 forms part of an ongoing project exploring the potential for storytelling and illustration within the digital environment.
This film was awarded certificate of Merit in the category of Animation in the 2016 Three x Three International Illustration Awards, USA. It was also selected for screening during the Motion Commotion event on July 11 2018 at ICON 10 International Illustration Conference in Detroit, USA