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?

The main source of inspiration for my artistic and theoretical practices are the creators and scholars, who try to overstep the boundaries of their own field. I am following the articles written in a way that does not put the human in the centre of the research, and are interesting constructs by themselves.

The project proposes an artistic reading of stone ingestion while questioning the pathologizing of this practice by psychology. It contemplates the mouth as a site of profanation as well as a mediating device of possession, digestion and knowledge.

My research is a practice-led, critical attempt to question the object of useful art and its role in creating an exchange between the artist/creator and the viewer/user in art projects dedicated to ‘making use’.

“Anthropologists don’t believe in things, they believe out of them.”- Roy Wagner
This research asks how hunters render something out of nothing and presence out of absence, creating value and mobility from scant resources.

Are visual elements [of the artists’ books] led by the same metaphors that build linguistic elements? What are visual metaphors and what is their relationship with language?

We too are stuff, but as humans, we are no longer held to be alpha matter. This practical research project travels the boundaries of our bodies through the materials we ingest and reflect, noticing our temper and terroir.

This PhD seeks to understand the capitalistic functions of the music-video form, interpreting its distinctive mode of audio-visuality as characteristic of new forms of commodity production.

This practice-led research project will examine how specific approaches to painting’s skin and surface^[1] constructed in monochrome can open up a new kind of emotional and physical space...

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?”

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?

Everyday life may seem routine and dull, but it actually contains a multitude of incidents.

The past ten years has seen a sudden rise in the number of academic texts addressing issues surrounding a digital ontology. Ranging from reproduction (Groys 2008), materiality (Blanchette 2011), error (Nunes 2011), and circulation (Steyerl 2009) understanding the digital world has never seemed so pertinent.

The tension of contemporary life exists as a paradox: In an era of increasing migration, both forced and chosen, we are at once radically global and yet culturally divided. As an artist with international experiences, I have personally navigated national and cultural displacement.

My artistic work is focused on the conflict between the condition of the human body and discursive language.

The research investigates whether performed acts of ‘Queer Extimacy’ can generate new narratives and voices on the gender spectrum, using my own experience of gender and my subsequent performances as an example.

This research project is an artistic investigation into the element hydrogen and its agency in the context of ecological art.

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.

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?

How are places remembered and interpreted? How can we open up a dialogue between past and present, between individual experiences and collective memories?

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 practice-led research explores the Jungian idea of synchronicity, and related topics like Tao, coincidence and chance.

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.

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.

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.

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...

My practice-led research aims to define what it means to call a person or thing ‘cool’. Methodologically, my fine art practice is bricolage: disassembling, repurposing, and modifying objects or ideas to generate new wholes and understanding.

This research examines the notions of journey, pause and composition through art practice.

My practice and thesis begin from an understanding of social structures as spatial and as performed.

A digital fine art practice is at the nexus of some powerful dichotomies. The digital vs the analogue, the natural vs the artificial, the subjective vs the objective, the emotions vs reason, and art vs science among them.

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.

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.