Interlooped: an investigation into how the primary structures of knit can inform and enhance the materialisation of 3D printed textile structures
3D printing is an emergent technology which when combined with established textile processes offers the opportunity for a new method of textile production. By emulating the structures of knit through the use of 3D Computer Aided Design (CAD) it is possible to print 3D structures which embed knit’s inherent properties of stretch and flexibility whilst exploiting the mechanical properties of the material used to print with. This offers the possibility to create novel forms with innovative applications. The research will take the four primary structures of knit (plain knit, purl knit, rib and interlock) as the starting point to develop a body of 3D printed textile based structures. This ‘material proposal’ (Karana et al, 2015) will be explored in synthesis with knit’s inherent properties of stretch and flexibility, an aspect currently unexploited in 3D printed textiles.
What is the material agency of digital decay and how is it revealed through curatorial practice?
The concept of decay has been commonly associated with still life in art practice. Since the 1980s, the presence of digital technology in art has grown and notions of matter, the medium and immateriality had to be reconsidered in order to address art practices that deal with new materials. Building on Jussi Parikka’s idea of ‘geology of media’ (2015), the PhD aims at reconsidering the concept of decay and its intrinsic nature of material process, following new parameters of matter and time brought into discussion by digital technology. Considering materiality as materials immersed in an instable flow means to think of both software and hardware obsolescence as crucial elements in defining decay as a form of agency.
The role of curatorial practice in rethinking nature, posthuman and media environments in the Anthropocene
My research engages with critical debates on the Anthropocene focusing on recent discourses of media ecology and materiality creating a trajectory between hidden toxic territories in China and our technocapitalist societies. My work pays particular attention on the 'curatorial' as a mode of theorisation as well as a research methodology. The project will deploy through a series of talks, a conference and a final exhibition at the Centre for Chinese Contemporary Art (CFCCA) based in Manchester.
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.
Creating a space of enchantment: thread as narrator of the feminine
The research concerns the role of enchantment and narrative in my artistic practice. It is based on a body of monumental pictorial works in the medium of thread. Thread offers a particular narrative voice that can be appropriated for feminine needs of concealed meaning, but I will argue that it also serves to clarify the movement between metaphor and realisation that is essential to artistic creation.
Opening up the Wig: An exploration of the wig using photographic and sculptural strategies to reveal the relationships between the wig, the self, society and the construction of female identities.
My practice is situated in the intersection between sculpture and studio-based photography and will employ a range of strategies to unpack the function and definition of the wig, and interrogate the social context that currently produces and values it. This will involve investigating both the intention of the wig - representing, idealising and projecting the ‘feminine’ - and its material origins - the physicality of it and the cultural context that produces it. The female wig in particular offers a space for public and private ideas of femininity to interact. Women’s wigs can act as a metonym for the female body as both an artificial construct (the ideal female body), and an absence (the intended wearer, or, in the case of natural hair, the persons whose hair it was).
The transferware engraver; practice, scope and impact at the Spode Works
This research will examine the role of the copper-plate engraver in the transfer-printed ceramic industry, notably the process of image selection, use and modification. The literature on transfer-printed pottery is largely orientated to the collector and researched by collectors and dealers. Investigations have mainly dealt with factory identification, date, pattern derivation and evaluation of merit and value. My theoretical approach is one of scientific connoisseurship, material culture studies and new art history that includes the social and cultural context. Ultimately, the research will provide justification for saving and preserving the Spode copper plate archive.
'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.
Objects of Delight: The Nineteen Century Mass-Produced Miniature
My research explores the phenomenon of miniaturisation, as reflected by the global trade and consumption of mass-produced miniatures, and what it reveals about the nineteenth century people who delighted in, desired, acquired, displayed, collected and discarded them.
Creating Images of Belonging through Diasporic Touch
My research project examines issues of belonging in the Swedish diaspora in the north of England bringing a minority discourse into the public realm. I am developing a notion called diasporic touch exploring how a combination of seeing, touching and creative writing opens up an imaginary space where ‘there and then’ is ‘here and now’, and where the process of making art generates a sense of belonging.
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