Haunting Corporeality: A Cultural History of the Animated Skeleton
The visage of an animated skeleton is an omnipresent theme in the cultural sphere of horror and the Gothic, but scant little attention has been given to this powerful symbol. My research blends literary studies, art history, archaeology, and thanatology to examine how the skeleton operates as a signifier throughout Western literary, visual, and material culture, originating during Medieval Christendom as a moralistic reminder of the afterlife and subsequently becoming a multi-faceted symbol for memorializing grief, disease and community health, class struggles, and ultimately humanity's own relationship with the vastness of time.
Art Collectives in Israel
My research examines art collectives in relation to social and political changes in Israel, as well in relation to similar worldwide socially engaged art. It aims to contribute to the understanding of the socio-political potential of art. From a local perspective, my research aims to contribute to the development of a theoretical framework through which to read Israeli art from social and political perspectives, with emphasis on historical and current moments in which art, politics, and social change intersect.
Revisiting English Chinoiserie from a Perspective of Postcolonialism: How Can New Narratives be Embedded into Cultural Heritage Sites through Art Practice?
A practice-based fine art research investigating the historiography of chinoiserie from a perspective of postcolonialism through exploring how otherness was prescribed to Chineseness.
Experiments in somaesthetic art and the psychology of multisensory perception . What are the implications of artists using galleries as perceptual laboratories or tools for exploring somaesthetic experience?
Through this interdisciplinary practice-based research, working closely with scientists, I plan to recreate a range of perceptual multi-sensory illusions. These will include somatic illusions of body ownership, [of body parts hands the face and tongue for example] as well as location and motion of the body in space. I hope to gain important insights from these experiments, which will inform a series of new artworks.
What are the precursors to transformative moments within socially engaged arts practice?
I write as a participant, as an artist and as a member of the local community. By adopting artistic research methods, and specifically, by making work in the place where I live, which could be considered a form of auto-ethnographic artistic research, the research analyses social artistic processes from the perspective of the artist, adding to debates around what social arts practice is, and what its limits are in its original social context and within the gallery and documentary systems of dissemination.
Manifestos: Feminist genealogies, queer art histories
This thesis turns to manifestos produced since the late 1960s, through which important intersections between aesthetics and radical gay, lesbian and queer politics become legible.
Towards a New Realism: An Investigation of the Possibilities for a Socially Engaged Painting Practice
I am proposing to examine the methodologies and signifying structures of ‘classical’, ‘critical’, ‘social’ and ‘socialist’ realist painting to determine whether they can be synthesised or adapted to generate a socially informed and democratically readable contemporary painting practice.
Experiencing ‘Ghost Developments’ in Post-Crisis Ireland: A practice led interdisciplinary investigation into land, private property and public space
I am a filmmaker currently conducting practice-led research into the newly built environment in post-economic crisis Republic of Ireland, with particular reference to unfinished housing estates and vacant commercial property- which I refer to as 'ghost developments'.
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