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Postgraduate Profiles

Reading Socially Engaged Book Art: Establishing New Dialogues

To construct a critical framework in which to read socially engaged book art (2000 to present day), with reference to selected case studies, through the mapping of connections between production methods, themes and book forms.

A Creative Writer’s Investigation into Representations of Nurturing, Single-Parent Fatherhood in Children’s and Young Adult Fiction

My research examines the portrayal of nurturing, single-parent fathers in children’s literature through the development of paternal characters in a young adult novel. It privileges creative practice over other research activities, exploiting those scholarly theories which resonate most deeply with my creative concerns.

My thesis investigates the role of the photobook in representing the British working-classes since 1975 and demonstrates the value of photobooks as a tool for the exploration of lived experience.

Tracing the social contract of photography: How do we evidence the collaborative social engagement process in photography without undermining the value of the final visual outcome?

The thesis sets out the theoretical framework for which the practice-based research is delivered, supporting but challenging to what extent, there is a ‘social contract’, inherent in photography as argued by Azoulay. The framework pays consideration to photography’s conflicted history, positioned between Rancière’s thinking of photography as a “trace of the true” against Sontag’s view of photography as enabling the “voyeuristic stroller”. For the purposes of this research, which actively privileges the process of social engaged practice in photography, weight is given to Rancière’s and Azoulay’s argument. The thesis further explores the principles of Helguera’s layers of participation, which discusses different approaches socially engaged art practitioners use for their collaboration with others. I specifically focus on the creative and collaborative participation methodology, which enables the most active and accessible approach to co-authoring art projects.

Visual Activism in Israel and the Occupied Territories

My PhD thesis is concerned with examining the politics of visibility, expressly related to nonviolent Palestinian and international activist practices carried out in the Occupied Palestinian Territories.

Conferred 2016

The Role of Drawing in the Regeneration of Urban Spaces

My practice-led MPhil/PhD research project will have two areas of inquiry: drawing and regeneration that will be linked by the aims and methods I deploy.

Conferred 2016

An Enquiry Into Artist Development (AD): Using Castlefield Gallery (CG) as a case study, can an understanding of AD inject a new perspective into the debate around the value of the arts?

My research aims to to capture, analyse, critically evaluate and contextualise artist development practices using methods that include participant observation and interviews.

Conferred 2017

The artists and arts policy conundrum: The relationship of arts policies to artists’ creative practices and their livelihoods

Research which reflects on key UK arts policies intended to support the creative practices and the livelihoods of artists and gathers new evidence of artists’ perceptions of the contexts and conditions they feel they need, to generate a rationale for conducive environments which can better foster the talents of artists.

'Believe me, I remain...': Meaning and Materiality in the Mary Greg Collections at Manchester Art Gallery

As a museum curator turned researcher, I am interested in the histories and uses of art museum collections, with particular respect to decorative art and craft. My PhD research considers the changing values, status and meaning of 'everyday' objects within the art museum, through an investigation of the Mary Greg Collections at Manchester Art Gallery.

Conferred 2018

Deep Surface: A practice based enquiry of the picture plane.

How do we understand the active interchange between the outer face of an artwork and its inward-facing components, be these a design, a trace or a generating framework?

Over the course of the PhD enquiry I aim to interrogate physically through the making of artworks and theoretically, through a contextual underpinning, the depth of surface as a dense, complex and vacillating plane. The research aims to unpick the interplay between the outer public layer and the structure below, contributing to a new understanding of the picture plane within two dimensional Fine Art practice.

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