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 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 deploy his ‘life experiences’ as coordinates of productive practice.
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.
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.
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.