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?
This practice-related research is concerned with the shifts from Greenbergian abstraction and medium-specificity to the current 'post-medium condition' of art, and more specifically with questions in experimental animation of 'formal coherence' in light of the disputes over the ontological and categorical relevance of the medium...
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?
Currently researching for a practice-related PhD that considers the role of fine art practices since the 1960s in relation to the environmental impact of new technologies...
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. As I moved through four continents and the Arctic Circle, I made ephemeral art works.
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.
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. Her scales and time-frames outstrip our capacity to experience her universe by orders of magnitude.
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.
The intention of this project is to examine the theory of the distributed object.
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.
My research investigates different concepts of imagination in Hannah Höch's independent and collaborative work. I ask where Höch locates her understanding of imagination within different conceptual frameworks.
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.
In this practice-related study I use a range of play theory to examine the creative processes behind the work of Eduardo Paolozzi, Philip Guston and Tony Oursler.
I work with video, photography and installation and am interested in the interface between the external world and the internal world of the imagination.
The research themes for the Graduate Research Weeks involve basic notions that continually inform the activity of art-making, and hence are key to the development of artistic research. The research themes this academic year were: Drawing, Colour, Projection and Body.
Difference or Sociality was a student-led research project centred around the text ‘Difference or Sociality’ by Scott Lash, written in 1996 for symposium at the Jan Van Eyck Academie called ‘Towards a theory of the image’.
The research themes for the Graduate Research Weeks involve basic notions that continually inform the activity of art-making, and hence are key to the development of artistic research. The research themes this academic year were: Drawing, Colour, Big and Body.
This is an interdisciplinary project between the Slade School of Fine Art and UCLH to further research the value of visual images in the diagnosis and management of chronic pain.
Sound box is a an archive of sound and performance works from the Slade School of Fine Art. All works were made by staff, students and visitors whilst resident at the school and exist on this site in a wide range of media including text, sound, photography and video.
The Graduate Research Weeks' research themes involve basic notions that continually inform the activity of art-making, and hence are key to the development of artistic research. The research themes this academic year: Colour, Material, Body, Extra-Large, Light and Shadow.
Can photographs of pain mediate the space between patient and clinician to facilitate improved communication and rapport in facial pain consultations? Can an exploration of facial pain inform our understanding of portraiture and vice versa?
The aim of Theresia Peng's PhD was to investigate 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.
I create videos, sculptures and drawings that explore physical and mythical entanglements between humans and animals.
The inter-relationship between race, power and language has been chronicled in various forms.
Laura Cinti is a practicing artist working within the intersections of art, biology and nanotechnology.
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.
A project exploring artistic process organized by Patricia Townsend and the Slade PhD students.
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.
The Voice and Nothing More (vanm), curated by Sam Belinfante and Neil Luck, is a week-long festival exploring the voice as both medium and subject matter in contemporary arts practices.
To mark the 40th anniversary of John Cage's seminal publication Notations (Something Else Press, 1968-9) Notations 2008 presented a range of investigations into what notation is - and can be.
Working with the Slade School of Fine Art, four artists – in China, Uganda, Israel and Australia –each filmed a 12 minute video in a locale connected to their work, under the title The View From Here.
This was a two-day symposium of papers, films and panel discussions and the third in a series of yearly interdisciplinary student-run events, organised by the Slade School of Fine Art and the Bartlett School of Architecture.
This project comprised six separate weeks of concentrated activity by clusters of graduate students electing to work under the respective umbrellas of specific research themes: speed, light, time, colour, scale and space.
The aim was to present research themes, which could be productively explored in the space; basic notions which continually inform the production of art, and hence are key to the development of artistic research: Weight, Water, Touch, Body, Land, Air.