What is the particular status of the hand in world making? To what extent can analytic philosophy and phenomenology of perception clarify the image of the world epitomised through sculpture, its becoming, its recovering?
My work addresses a conflict in identity. We identify ourselves by our name, in the face of ‘others’ and by our histories. A matter of being given a name and inheriting a legacy passed on from past generations is both passive and active.
My thesis is centred around the question, “Can there be anthrodecentric art?” This question itself is presupposed by several questions, each complex and requiring in-depth examination. First, “What is art?” “When does art occur?”
My practice-led research explores the Jungian idea of synchronicity, and related topics like Tao, coincidence and chance.
What differentiates an artist who develops an identity as a curator as part of a broader artistic practice and a curator who sees his/her practice as art?
I'm interested in place and the relationships it produces between people. I'm curious about how the ownership of culture power in Taiwan has progressed in painting domain, landscape, especially.
For my research project I decided to enliven the German Early Romantics’ enduring search for the Wunderbare and ineffable – symbolized by the Blue Flower – through my own practice.
Following Luce Irigaray's assertion that 'things could be thought differently', this project engages a methodology of feminist science fiction with enduring questions which trouble feminist movement: What makes a feminist world?...
How can we meet a tree?
Is it possible to get to know trees?
To hear them and become familiar with them?
How intensely, under what conditions, and through what forms of knowledge do we experience and engage with “creation”, including ourselves?
How is it we ethically relate to the environment?
My desire to enact a reappraisal of ekphrastic hope and fear is motivated by the differences I have identified between Korean and Western understandings of time in relation to abstract painting, and of how the artist deploys his ‘life experiences’ as coordinates of productive practice.
What is at stake within Breer’s process and distinctive employment of cinematic assemblage within the postwar period, is not only the desire to investigate non-traditional sites and techniques and to inclusively claim, say, the moving-image as an artistic medium, but to make these claims comprehensible through their aesthetic modes and means.
My research seeks to further elucidate notions and questions circling the ‘event’ both in contemporary art practices and art writing. But what constitutes an artwork as event? And is the ‘event’ an act or trace or the inevitable dichotomy of the two?
Fiona Curran's practice-related PhD considers the role of visual and material practices since the 1960s in relation to the environmental impact of new technologies and anthropogenic climate change...
What is cool? The word denotes a certain socially desirable trait or characteristic that can apply to animate objects, like people or inanimate objects, like products.
I was born in Seoul where everything changes so fast. Nothing waits to grow old or to become attached to the city.
My practice and thesis begin from an understanding of social structures as spatial and as performed.
I love science. The big ideas, the big questions: time, space, consciousness, Grand Theories of This, That and The Other.
My work is based on stories about parts of cities annihilated by totalitarian interventions.
Turning Landscape into Colour is an investigation into the origins of earth pigments - ‘ochres’ found in landscapes across the UK that considers their significance as contemporary cultural materials.
Moulding and casting are widely used techniques of modern and contemporary sculptural practices. But their applications are also employed beyond the disciplinary art canon, in areas not immediately associated with art making.
Single point perspective and photographic technologies of sight have been implicated in a dominating western way of seeing, referred to here as 'natural vision' for the past 500 years.
Imagination is neglected in studies of Hannah Höch. The related ideological and partial interpretation of Höch’s work has resulted in distorted understandings that obscure her aims.
I work with video, photography and installation and am interested in the interface between the external world and the internal world of the imagination.
In this research project I show how a performative, material reading of the artwork provides for an interpretive framework constituted as much by the form, subject matter and context of the artwork, as by the viewer’s embodied experience thereof.
Laura Cinti is a practicing artist working within the intersections of art, biology and nanotechnology.
The inter-relationship between race, power and language has been chronicled in various forms.
Mikhail Karikis' doctoral research was a methodological experiment, which employed academic writing, music composition and art practice to explore notions of the 'self' through the study of voice and sound.
My thesis examines work by Antonin Artaud, Henry Darger, Marcel Duchamp, and Pablo Picasso, with the intention of subjecting specific works by these artists to critical tests employing the idea proposed by Antonin Artaud's subjectile, that is a paradoxical fusion of both subject and object.
I create videos, sculptures prints and drawings that explore material and mythical entanglements between humans and animals.
This thesis explores how photographic images can expand pain dialogue in the consulting room to include aspects of experience frequently omitted using traditional measures.
An investigatation of questions concerning the cross-cultural analysis and utility of images in Tibetan Tantric Buddhist art, as opposed to political conflicts that often arise in the media now.
This research project examined the concept of mediated presence through the perception of inanimate images coming to life, and the converse experience of human actors becoming inanimate images, whilst interrogating how this might articulate, substantiate or defy belief.
Kai Syng Tan's practice-related Fine Art thesis performs a discourse of ‘trans-running’ – running physically and poetically, and running as both subject and approach – as a playful methodology to transform our world today.
This practice-related study uses a range of play theory to examine the creative processes behind the work of Eduardo Paolozzi, Philip Guston and Tony Oursler.