• Un/writing and re/figuring artistic practice

      Jones, Rhiannon; University of Ohio; University of Derby (2020-11-18)
      This artist talk entitled 'Un/writing and re/figuring artistic practice' explores the collaboration of Kelly + Jones. It is presented from the perspective of Jones who unpacks how their artistic research offers insights and reflections on how they write and un/write into being their practice. It describes examples of how through their collaboration they have approached the notion of re/figuring positions for the process of writing through the body for bringing a subject into being, in order to explore its dialogic relationship to the feminine. Jones shares insights into the new found potential for creating ruptures, revisions and disruptions to the process of writing through a post-feminist artistic collaborative practice.
    • Un/writing the landscape, re/figuring the body

      Jones, Rhiannon; Kelly, Traci; Klein, Jennifer; Walkington, Helen; Howard, Janice; Pill, Deborah; Mahon, K; Lee, J; University of Ohio; University of Derby; et al. (PABlish, 2020-12-17)
      Kelly + Jones' research interests in the process and engagement with writing has shifted away from the production of text. Instead, their research enquiry now focuses on a broader visual and performed investigation into site and the materiality of writing and the place of the body as a scripting phenomena that writes itself into being in proximity to myriad otherness. To do this they have tested out abandoning any form of recognisable text, subverted written language by returning to the gesture, developed an approach that engages with writing instinctively and the materiality whose mark-making predates fixivity. As a result of this enquiry, new material has been generated and formed a new body of work – existing as an area of investigation where writing has become the milieu in which our collaboration operates. The research process is an organic and intermittent collaboration that bubbles in the gaps and suddenly erupts into different spaces and contexts. To this end, Kelly + Jones state that the enquiry has produced the following contributions: Originality - Site specific practice usually engages with one site and most theory and cultural commentary would attest to this. They have created a dialogue between two diverse sites that have expanded each other’s terms and created a conceptual third site that does not belong fully to either and has its own terms. They have decentralised the research opening it up to other researchers at various stages in their career without hierarchy. They have moved outside of the Fine Art community gaining fresh insight into their theoretical framework and site knowledge e.g geographer Professor Helen Walkington who brought new insight about the presence of flint within chalk beds and their significance around human activity. Kelly +Jones practice is of significance as they have created a research cascade which continues to grow and spread outwards. This is evidenced in the zoom research meeting transcript which brought together different research voices from student to Professorship with a specialism in Higher Education pedagogy. Significance in expanded research models that decentralise and strip hierarchy. They have expanded the discourse between site and the body …by splitting the singularity attached to ideas of site/locus in an environmental sense and have also presented the body as a multiple and shifting site as opposed to a fixed entity. In contrast to existing discourse on writing it draws attention to the political implication of the act of writing rather than what is written. What are the conditions and gestures that precede writing? What is the troubled and fruitful relationship between writing and subjectivity, resistance and personhood. We have repurposed the traditional idea of exhibiting visual art as display and as fixed point to exhibiting as research and as touch – to feel the way to the next level, to allow others to intervene and alter course, expand discourse. We chose a response model (listening to the sites rather than demonstrating it with planned gestures). This allowed new and unexpected experience to rise 'which were intimately connected to the presence that live work offers, rather than projection.The publication is an output for this new body of practice as research. The publication takes the form of a newspaper framework and features an edited series of texts, performative gestures and provocations that has been written and edited by Kelly + Jones. It also ‘draws-down’ on several research activities and influences from Kelly + Jones presented in the form of the solo exhibition at The Glass Tank in 2020. The seers-in-residence programme carried out as part of their exhibition at The Glass Tank provided a unique opportunity for research-generation in the form of a series of conversations with invited academics and researchers to be Seers (Professor Helen Walkington, Janice Howard, Deborah Pill and Kate Mahony, Oxford Brookes University). The publication includes essays by Professor Jennie Klein, University of Ohio and Joanne Lee, Sheffield Hallam University. The publication has been internationally peer reviewed and the National Library of Norway has a collection of 7 copies of the publication now on file due to international academic and artistic interests in the publication. The publication has been commissioned by Bergen Performing Arts publishing arm - PABlish.
    • Uncovered – performing everyday clothes

      Penna, Xristina; University of Leeds (Intellect, 01/10/2014)
      Uncovered is an interactive installation based on a simple yet complex performance system that uses the participants’ clothes as a springboard for devising material for the show ad hoc. Everyday clothes are performing in Uncovered and consist the material for the show. They are the objects that tranverse from a ‘silent existence’ to an ‘oral state’ open to appropriation (Barthes [1957] 2009: 131). Gaston Bachelard would argue that ‘immensity is an intimate dimension’ (Bachelard [1958] 1994: 194) and also that ‘immensity is a philosophical category of a daydream’ ([1958] 1994: 183). During an interview session the audience/participant encounters the projected image of one of his or her clothes and re-thinks, rejects, remembers, reflects, resists with this image. The artist makes a rough copy of the garment using white fabric while the sound designer picks up sound from the clothes and composes a short sound piece. The team of three (performer, sound designer and the artist) with the use of projection, live camera feed, sound, the body of the performer and the piece of clothing itself, present a two-minute improvisation to each one of the audience/participants. The audience are invited in an intimate space to daydream and reflect by looking at the image of one of their clothes. In this visual essay I will use the metaphor of zooming in the network-like-texture of a fabric in an attempt to communicate the experience of Uncovered: the layers and immense weaving of thoughts, emotions, memories that was triggered by the delimiting image of the participants’ clothes.
    • Unsatisfactory devices: legacy and the undocumentable in art.

      Bartram, Angela; University of Derby (Palgrave Macmillan, 2018)
      Regarding perception of ephemeral artwork when lost to the fractures of time Peggy Phelan states “you have to be there.” For Phelan ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? This essay interrogates the critical, sensitive and individualized distance necessary to archive transient artworks. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain is analysed in response to The Alternative Document, an exhibition I curated on the subject in 2016, and suggests archival possibilities beyond formal academic, artistic and museological conventions.
    • Unsavoury thoughts

      Levesley, Richard; University of Derby (Meraki greetings cards, 2018-01)
      Investigation into trends within the industry, exploring varied audiences for the gift market. Research of current Illustration competition, use of humour and subjects in the industry. A body of visual experimentation and process to challenge and create contemporary illustrated outcomes in the field of design. Visual research into drawing and experimentation into line quality, characterisation and developing appropriate characters for audience. Distributed nationally currently featured in UK retail outlets such as Paperchase.
    • Unsettling action and text: a collaborative experience.

      Bartram, Angela; O'Neill, Mary; University of Lincoln (Routledge, 2016)
      The original abstract for this text was written in 2009, and reflected the beginning of a collaboration informed by two individuals’ research confidences and disciplines. A work titled ‘Oral/Response’, which combined the documentation of a performance within its structure, allowed a conversation to emerge between disciplines and ways of working, of live action and its textual documentation. ‘Oral / Response’ explored the dynamic, but often disjointed relationship between these two linked but separate elements within the performance itself. The simultaneous dialogue between action and text in this work aimed to highlight the ways in which performance and its legacy as documentation can be reflexive and co-dependent. By making the text as evanescent as the act it describes, this work became the foundation of a new form of practice for both collaborators, a nexus of theory and practice that combined different languages, different ways of knowing and experiencing. The rules and regulations that direct and confine solo compositions in text and action became less rigid, more malleable and symbiotic. In the interim and beyond this work the collaboration has developed in such a way that the distinction between these disciplines, specifically in critical theory and arts practice, has become insignificant. While initially the partnership provided access to each other’s disciplines there is now fluidity, confidence, and trust whereby the roles ascribed to each varies depending on the requirement of the work. The lines have become blurred, and the separation of roles foggy allowing each collaborator the safety and space to take risks by entering domains that are less familiar research methodologies. Therefore the collaboration, aside from the actual work produced, has a significant extra dimension - it allows each partner to become confident and articulate in the others field. Dynamic elements have been liberated for the possibility of an analysis of the range of co-efficiencies and motivations that abound from this fusion, and speaks of the nature of collaboration itself. A reflexivity in approach and position has reshaped, informed, and re-informed the possibilities for emergent research, where trust allows each participant to be confident in a range of methods for creating knowledge. This chapter traces the development of the collaborative relationship from its beginning in two distinct areas of expertise and strength to a partnership where there is now more overlapping of roles.
    • Using flashcards to support your learning.

      Bryson, David; University of Derby (Informa Healthcare, 2012-03)
      The idea that if you listen to a lecture and make notes you will, by some mysterious process, have learnt all that the lecturer has covered, is a myth. Unfortunately, the lecture is just the start. The best way to learn is by doing. This can be achieved by completing set practical tasks by reading and creating your own notes, listening again to parts or the whole of a lecture via a screencast or using diagrams and illustrations that you annotate. Similarly creating your own learning materials can be useful as actually putting questions and answers together helps you to learn. One of the many ways to support your learning, especially in difficult topics like anatomy and physiology, learning about bones, medical terminology or indeed any subject where there are a lot of new words and terms to learn, is making use of an old technique brought up to date with new technologies called "flashcards".
    • Using research papers: citations, referencing and plagiarism.

      Bryson, David; University of Derby (Informa Healthcare, 2012-06)
      As a profession when we look to expand our skills, learn new techniques and expand visual communication in healthcare as an area of knowledge research papers become a valuable resource as references, to support this work. This Learning and CPD worksheet looks at citing, referencing and discusses plagiarism as well as giving advice on how to check references and think about using reference management software.
    • Utran Conversations

      Davies, Huw; Basi, Philip Ranjit; University of Derby / Artcore (Artcore / University of Derby, 2019-10-18)
      Utran Conversations is a 3-channel, 30-minute, experimental documentary film by Huw Davies and Philip Ranjit Basi, set against the backdrop of the world’s largest kite festival in Gujarat, India. It explores the social and cultural contexts for a huge visual spectacle which marks the transition from winter to summer. The Festival serves to bind together different communities and crosses religious divides. It also provides a complex infrastructure for the employment of thousands of homeworkers engaged in the in the manufacture and distribution of kites and associated apparel. Utran Conversations also comments on the environmental impact, particularly to the local wildlife as the balance of the natural ecosystem is disturbed by the presence of the glass coated threads which are used in the kite flying and fighting rituals, even causing human fatalities. Exploring these themes and issues the film interweaves a multiple series of ‘conversations’ with key players from kite makers to kite flyers and wildlife NGO’s, set around the event of the Utran Festival itself. Utran Conversations was supported by Artcore and DMARC and produced as part of an international artists’ research residency at the Reliance Arts Centre, Baroda in January 2019. It was exhibited as part of the exhibition Otherlings, (Artcore, Derby. October/November 2019) and S.H.E.D at InDialogue Symposium, (Nottingham Contemporary. November 2019). Selected and shown in competition at: Crown Wood International Film Festival (Kolkata, March 2020); New York Indian Film Festival (July/August 2020); Pune Short Film Festival (December 2020); Goa Short Film Festival (December 2020); Lake City International Film Festival (Delhi, December 2020).
    • Victoria Lucas lay of the land: landscape and other stories.

      McCloskey, Paula; University of Derby (Airspace gallery., 2017-05)
      A critical essay exploring the themes in Victoria Lucas' exhibition 'The lay of the land and other stories'.
    • "Visual media primitivism: toward a Poetic Ethnography’"

      Nicoletti, Martino; University of Derby, School of Art and Design (Oxford-New York, 2013)
      This article – based on an experimental research carried out by the author in Thailand and founded on the systematic employment of vintage analogue lens-based media – provides an original contribution to the epistemology of visual anthropology and to its relation with contemporary visual art practices.
    • Wales on Film: Memory, Identity, Politics

      Bosward, Marc; University of Derby (2019-05-11)
      The paper will present a practice-based project that addresses the history of South Wales through the materials held at the National Screen and Sound Archive of Wales. Informed by critical realism, the work investigates the capacity of collage methods in negotiating archive film to uncover marginalised aspects of the past that are obscured by dominant narratives. Consistent with the fluid, plural conditions of memory and identity, the research regards archive footage as a site of malleable social meanings that are contingent on varying contexts of appropriation, recontextualisation and reception. In contrast to conventional documentary representation, the practice is underpinned by the argument that alternate, experimental strategies that foreground layering, fragmentation and ambiguity are better suited to represent the complexities of history. The project asks if a deeper understanding of the past can be apprehended through the construction and mediation offered by the vocabularies of archive film and collage.
    • Water-fountain-sculpture

      Locke, Caroline; Wermers, Nicole; Pye, William; Janzing, Godehard; Bussman, Valerie; German Forum for Art History; University of Derby (Henry Moore Institute, 28/01/2017)
      This seminar event explored how water and fountains have been used by artists and sculptors for a variety of purposes. The afternoon began with a discussion of Marcel Duchamp's 'Fountain' (1917) and examined more recent examples of water sculpture such as the memorial at Ground Zero. In collaboration with Dr Godehard Janzing (Deutsches Forum für Kunstgeschichte), Valerie Bussmann (independent), Nicole Wermers (artist), William Pye (artist) and Caroline Locke (artist). Godehard Janzing discussed ‘Falling Waters at Ground Zero: when Terrorism turns into Nature’ and how the use of the symbolism of water becomes problematic in this context. Valerie Bussmann continued the theme of the city with an examination of the relationship Paris has with water as both necessity and art. Water as a sculptural material was explored by Nicole Wermers, focusing specifically on her 2011 series ‘Wasserregal’ (‘Watershelves’). William Pye has long been inspired by water and first introduced it as a major sculptural element in his work in the 1980s. Caroline Locke shared the themes of water and vibration, which have formed a key part of her practice and focused on her use of water in connection with her Performing Data projects. She has used her water fountains to animate certain data sets in connection with the human body and environmental data.
    • What kingdoms may come

      Rushton, Stephanie; University of Derby (Triennial of Photography Hamburg, 2015-06-18)
      Photography Exhibition 'What Kingdoms May Come' at Container City part of Eight museum exhibitions under the motto THE DAY WILL COME The international photo festival Triennial of Photography Hamburg brought out the best in Hamburg as a city of photography, with numerous photo exhibitions and events at various locations spotlighting the theme of “The Future.” From 18 – 28 June 2015, international photo professionals and enthusiasts met at the Alster. The ten days of the festival featured an extensive program of events.
    • When choreography marries digital projection.

      Marshall, Alice; University of Derby; University of Derby (Intellect, 2016-12-01)
      As a choreographer, I have always had a keen interest in fusing movement with other art forms and in being able to achieve this seamlessly. Each art form is as important as another; therefore making this a reality can be challenging. However, in my work I have discovered that the use of movement with digital projection is one that has a real connection. The two have a symmetry that is aesthetically pleasing, but my work to date had never had a real ‘marriage’ of the two forms. One always came before the other; never did the two coexist to arrive at the same point. During 2016, Illuminos (digital artists www.illuminos.co.uk) and I set about our biggest challenge to date: creating a full-length production that did not just fuse dance with digital, but dance with digital, music and storytelling. Our aim was to create a show based on the myth of Daedalus and Icarus. It would explore the story, highlighting the journey it takes from the ground to the sky and back again. Most importantly the piece was to demonstrate how projection can create the illusion of height and weightlessness, with imagery dictating the movement, and how the movement can dictate the imagery when the journey reverses. In simplest terms we wanted to find a cohesive process that allowed not just one aspect to dictate the other: a happy marriage between choreography and digital projection, all portrayed through our show, Icarus. This article will explore that journey.
    • When The Future Comes

      Locke, Caroline; University of Derby (Nottingham Contemporary, 2018-06-30)
      An afternoon of talks, artworks and a workshop that looked to the future as the environment and climate is changing. Featuring Dr John King, Senior Scientist at the British Antarctic Survey, artists Dr Rachel Jacobs, Caroline Locke, Frank Abbot, Juliet Robson, Wallace Heim, Matt Watkins, Dominic price, Horizon Digital Economy Research (University of Nottingham) and Prof Esther Eidinow, Professor of Ancient History (University of Bristol). The activities explored how we respond to climate change through a combination of art, science, technology and in our every day lives by presenting 'Performing the Future' an artist/research project led by Dr Rachel Jacobs. Caroline presented some of her current research and artistic practice in relation to science and climate change, including her Frequency of Trees, Significant Trees, association with The Woodland Trust and Smoke in the trees experiments with Jacobs and Watkins.
    • When the image takes over the real: Holography and its potential within acts of visual documentation

      Bartram, Angela; University of Derby (MDPI Open Access Journals, 2020-02-15)
      In Camera Lucida, Roland Barthes discusses the capacity of the photographic image to represent “flat death”. Documentation of an event, happening, or time is traditionally reliant on the photographic to determine its ephemeral existence and to secure its legacy within history. However, the traditional photographic document is often unsuitable to capture the real essence and experience of the artwork in situ. The hologram, with its potential to offer a three-dimensional viewpoint, suggests a desirable solution. However, there are issues concerning how this type of photographic document successfully functions within an art context. Attitudes to methods necessary for artistic production, and holography’s place within the process, are responsible for this problem. The seductive qualities of holography may be attributable to any failure that ensues, but, if used precisely, the process can be effective to create a document for ephemeral art. The failures and successes of the hologram to be reliable as a document of experience are discussed in this article, together with a suggestion of how it might undergo a transformation and reactivation to become an artwork itself. Available in the edited book, 'Holography: a Critical Debate Within Contemporary Visual Culture' by Andrew Pepper.
    • Who Are We, Where Do We Come From, Where Are We Going To? Greek Cypriot Women Artists in Contemporary Cyprus

      Photiou, Maria; Loughborough University (Taylor & Francis Publishers, 2012)
      This article is about Greek Cypriot women artists. In particular it concerns their art, their careers, and their relation to politics; the way they were influenced by politics in Cyprus and how they represented the political upheavals of the time in their own practice. Although all these artists experienced the several phases of Cypriot history in a different way, they all have something in common: the fact that these artists were women living in a colonised, patriarchal country under Greek Cypriot nationality. Their practices are the result of what they experienced and an analysis of their work will reveal the artistic strategies they applied as a response to the politics in Cypriot society.
    • Who are we, Where do we come from, Where are we going to? Writing Greek Cypriot Women's Art Histories in Contemporary Cyprus

      Photiou, Maria; University of Derby (Bloomsbury, 2021-03-25)
      This chapter engages with material so far insufficiently examined in art history: the work of Greek Cypriot women artists. The work of these women artists has received little attention and has frequently been marginalised from official art histories. This chapter develops a framework to explain some of the processes and conditions that affected Greek Cypriot women artists’ lives and careers. It is based on research I carried out for my doctoral thesis at Loughborough University entitled Rethinking the History of Cypriot Art: Greek Cypriot Women Artists in Cyprus. In this chapter I begin with reviewing perspectives on writing Greek Cypriot women artists’ histories. I will address the socio-political conditions from which Greek Cypriot artists emerged and their problematic position, which has been associated with patriarchy and nationalism. This matter is explored by a number of contemporary Greek Cypriot feminists: patriarchal society and national politics left no space for women in Cyprus to struggle for women’s rights, to contest patriarchy or to gain public visibility.2Significant to my discussion is how the socio-political conditions affected Greek Cypriot women artists’ lives and careers. Within this context I will use interview material to refine our understanding of how women artists responded to these socio-political conditions. The works of Loukia Nicolaidou At the Fields (c.1933) and Rhea Bailey Memories of the Yard (1979) will be analysed – their work underlines discourses related to gender relations and socio-political conditions in contemporary Cyprus.
    • The Who of the I: Exhibition, Public Art Work

      Clark, Robert Casselton (2013-04-30)