A trial run has been offered for PhD students to exhibit their work along side the MA degree show at Wimbledon College of Arts. Visibility of PhD students across The University of the Arts London has been an on going debate; because of the diversity of practices it's an ongoing challenge to present a public face as a PhD community. Please come along to the private view on Thursday September 6 at Wimbledon College of Arts.
I have been selected to participate in the University of the Arts PhD studio residency at the British School of Rome (The BSR). The Mead Rome PhD Studio Residency joins the existing programme of Mead Scholarships and Fellowships which support UAL students in the pursuit of excellence through their creative practice and research. The residency provides an opportunity to further develop my Ph.D. investigation of a ‘phenomenological identity', a proposed liminal place between context and body, in a working studio, invigorated by the rich diversity that Rome offers and the support of the community at the BSR. You can find out more about the Britsh School in Rome here: BSR.
Preview: Thursday 20 April / 6-10pm / Free / All Welcome
“This spring, MK Gallery showcases new and exciting work by over 70 emerging and established artists in MK Calling 2017. This exhibition is designed to celebrate the breadth of creativity around Milton Keynes and will include a wide range of art forms alongside a dynamic programme of events and participatory sessions.” http://www.mkgallery.org/exhibitions/mk_calling_2017/
Threshold: a site specific artwork by Stephanie Spindler that is a part of
MK Calling 2017: This Exhibition showcases new and exciting work by over 70 emerging and established artists at the Milton Keynes Gallery
This was a unique opportunity to work in the Milton Keynes Gallery that is at the start of expansion and renovation of its main exhibition building. I chose to utilize the invitation to work on site and respond to the theme of construction/deconstruction that looks at the architecture and the building in its current state. The slippery, ‘in-between’ things, is something that I focus on in my practice base research; interactions that happen in the middle of here and there. A form of otherness that is vulnerable because of the unknown, ambiguity or uncertainty that is part of ‘becoming’. Threshold is about considering the relation of the body to the precariousness of change; the phenomenal and metaphorical transformation when moving from one place to another. The site is intrinsic to our negotiation through the distance between things, the boundaries of the body, self and what is unknown, intermingling contemporaneously.
The Royal Central School of Speech & Drama is at the forefront of Practice as Research in performance. COLLISIONS is the annual event that showcases our thriving PaR community, specifically allowing research degrees students and creative fellows to collectively engage with what it means to be researching through practice and to share this with a wider academic audience.
“Collisions” refers to the collision of disciplines, methodologies, ideas and practices. It provides a platform for experimentation and exploration, with the practice shared likely to be processual, interrogative and exploratory, rather than highly polished and produced.
Through showing the work in this context – in momentarily opening up both creative and research processes to public scrutiny – we hope COLLISIONS acts as a fertile environment in which to exchange ideas. Through exhibiting our practice, we want to provoke and incite dialogue, so please check out our programme of events, come along and get involved.
COLLISIONS 2016 takes place from Tuesday 27th to Thursday 29th September. All events are free, however advance booking is recommended and can be done directly on each artists' event page,
Me you me: Boxing at Camberwell College of Art
RAUM Gallery, Camberwell College of Art
May 2-6, 2016
Artist Talk Thursday May 5, 18:00
A Phenomenological Identity: The State of Being a Woman. (Working Title)
This practice-led research seeks to explore the structure of experience, using the philosophy of phenomenology with a feminist perspective in relation to a sculptural installation practice. I am working with representation, materiality, and experience; and spatial, temporal, and performative elements that are central to the ontological questions of the nature of space, time, and the sexed body.
The sculptural installation practice generates questions from the performativity of making and engagement with the artwork: How might a sculptural installation art practice manifest new perspectives from a feminist phenomenological perspective through the specificities of a sexed body and material, spatial, and temporal considerations? How might a concept of a phenomenal woman shift expectations of female identity and make explicit the role of the sentient body as a means of knowing through a creative practice?
The practice is an enactment of a feminist phenomenology, supported by theories of embodiment and new materialism. It is the investigation of the interrelation of what can happen between things, between the viewer and the artwork and the constitution of the encounter of the artwork that is most vital to experience, representation, materiality, and what a phenomenal woman might be.
The Utopia Exhibition at London College of Communications
Utopia College Exhibition
Using the concept of utopia as a tool to imagine the future of the College,
this exhibition brought together diverse contributions from 5 PhD
students across University of the Arts London.
11 Mar - 23 Mar 2016
Private View Friday 11, March 2016 1800
London College Communication Elephant and Castle
Utopia College is part of LCC's public programme.
The body is a boundary and a point of contact. practice-led research seeks to explore the structure of experience, using the philosophy of phenomenology with a feminist perspective in relation to a sculptural installation practice. I am working with representation, materiality and experience; spatial, temporal, and sensualelements that are central to the ontological questions of nature of space, time and the sexed body.
I recently attended The Mind The Gap Conference in Lisbon Portugal. I presented my practice and the components of my research. My practice has shifted in the last two years to look closely at how the performance of the body is an integral aspect of my research. Through the making of sculpture installation I am questioning how thought and movement are interconnected; through the senses and specifically how women's experience is expressed and enacted as a form of knowledge.
One of the questions from the panel after my presentation that keeps ringing in my ears was, "why woman? why not just you as an artist?" This was a good question. I am genuinely interested in the social, political and cultural position of women.
The absence and marginalization of women throughout history and philosophy compels me to enact something that brings the specific sensual, sexual and sentient qualities of women that has long been identified with the body, an authority and a voice that distinguishes both power and vulnerability.
This will be an answer that I continue to develop through my research. It remains a tension within Feminism and Phenomenology. Tension, being a key word, an active state, something that exists in the theory and the practice both.
I spent October 2013 at The Booth, a month long residency on Shetland Island north of the mainland of Scotland and on the same latitude as Norway. Way North!
My intention was to spend time being and expressing the influence of the place with drawings. Since moving to England last year my visual art work has been suspended a little by writing and doing some proposals that are way out of my comfort zone. The writing has challenged me to review my practice and try to see it and articulate what I have been making for the last fifteen years and why.
Drawing has always been a part of my practice. I use it as an expressve tool and look at the drawings as maps and notations of ideas. During the residency I tried to allow my impulsive and greedy desire for colour, energy, collage take over. To allow an abandonment to guide the work (or play) of using drawing as an abstract diary.
The drawings are childlike done with felt tip pens, mixed media, and collage (cutting up drawings and re-incorporating them back into new drawings).
I decided not to open my studio to the public because the ego is a delicate thing. I wanted to allow myself total freedom and I felt by adding a pressure of sharing the work while it was still very new that it might influence or change the momentum of the work.
These drawings are a map of what my thoughts were of the place, somewhere between a journal and works in progress. I will be making a body of work inspired by my time spent in such a unique place and by the information I captured through my drawings.
My day started at 4:30 am when the moon was blasting across the water into The Booth.
This day was to bring many spectacular things starting with the crazy big moonlight, I then saw my first sun bathing seal in the Scalloway Bay. It is not uncommon to see seals in the water, I see them almost everyday and it does feel quite special but the images of a seal head popping out of the water is fairly anti-climactic to the extraordinary animals they are.
To get to the edge of the world you have to pass through the most narrow part of the Shetland Island called the Mavis Grind. (pronounced like Grin with a d) The Atlantic ocean is on one side and the North Sea on the other.
It's a spectacle that I didn't photograph well but if you click on the link you can get a more narrative sort of image of the ocean and the sea at the same time.
We had the most beautiful calm and bright day to see this northern part of the Mainland of Shetland. I also had the extreme privilege of being accompanied by a local, Nat Hall who guided us through her beloved home. Her enthusiasm for this place is easy to understand on a day like this, in a place like this.
This road foreshadows the breathtaking edge we approach as we head to Eshaness. Glacial lakes, extreme blue skies filled with cloud islands and blinding sun that makes the land masses black and the sun an impossible white glare.
The photographs are only a small fraction of the experience. They fail in so many ways to describe the place you can feel with all your senses. The texture of the light, the freshness of the air, the vertigo from height, depth and bigness of the sky. A place carved from volcanic activity and glacial movements formed over millions of years. You feel all that standing in this place.
I was so fortunate to have such a beautiful day to see the unbelievable landscape.
In this place you need to shelter from the wind, rain, cold and sun. When the sun is shining brightly it reflects off the water in a blinding way. It took me by surprise. It's wonderful to be in a place that is so different from my daily life.
Here is my little work station that I use to write and draw.It's just my style to be able to have everything to hand.
This is how my day goes, a little writing and drawing, dog walking and then back to rest and process the scenery.
I could write more but the landscape says it all, almost. There is a lot of space to look and be silent. It's a nice choice.
The Booth is the purple building with the pink shutters. The Scalloway castle is poking up from behind on the left.
I have had this trip planned for two years, booked in advance because that's how busy it is! Traveling here was epic, it's so far north it shares an altitude line with Norway. It was an overnight ferry from Aberdeen, Scotland.
This place is not what I expected it to be. I have travelled to remote parts of Scotland before, but as I am here for a longer stay I have time to take it in over the month I am here. The Booth itself is a one room building that sits right on the water.
This is the spectacular view from my front window. I occasionally see a seal or two swimming over to the peer just to the left when the fishing boat comes in to the fish factory. This particular day has been one of sun and showers alternating between the two quite quickly. There is no "right" moment to be outdoors because they change so quickly. The majority of the time it is windy. It was a first to see the water so calm after nine days of being here.
The views are stunning, the place is water, land and sky, it is a beautiful and treacherous place. As I look in the distance I can see the horizon, where land, sea and sky meet but as I stand on the shore I feel the land stretch below the water and I feel the sky blowing the waves toward the shore. I think of these elements as seperate things but they are touching at all times, moving and co-exsisting as I trollop along in my very insignificant way.
These two pictures are from Paple beach and coast line. A short car journey slightly southwest of Scalloway. I take Mu on walks usually twice a day. We are getting out a lot.
I came to this residency to draw, write and experience the remoteness of this place. It is quiet and I can not escape myself. I try to be at ease with my daily routine of writing, walking the dog, eating, drawing and looking forward to my next meal shortly after the one I just had.
In the last year Adam and I moved from Glasgow, Scotland to Aspley Guise, England which was a massive transition for us both. It is much more a remote living situation for me as I no longer belong to an artist community. Coming to this Shetland breaks the routine and adds incredible drama as well as that element of confronting my own sense of being.
I came across this animal shelter made from an old boat. It is a portal to another world. I've walked into that unknown darkness and I am trying to hush the voice in my mind about doing and being by resisting accomplishing loads of tasks and and seeing everything there is to see. Exploring was part of the to do list but trying to quiet the images and voices of expectation is also part of the plan. It is such an intense solitude, the sounds are of waves, squaks from birds, the occasional boat and plane overhead.
I am enjoying exploring the island and will continue to go new places. I am drawing and I am writing. For now here are a few vistas for your viewing pleasure. I make pluck up the courage to add a few drawings but they are all new to me and I'm trying to see what they are.
Not to worry, we've made friends with the locals and they don't bite!
A combination of things have been ruminating around in my brain and I discovered something that I had not thought of before. A combination of ideas that came together that shifted my perspective. Throughout my practice I keep a sketchbook and I often use mind mapping to try to make connections and write things down to see them in a new way. This record shows that when I think about consciousness I always seem to approach it in a segmented way, for example, conscious/ unconscious, private/public, inner/outer as if these things are their very own rooms.
They might be their own rooms but they all exists in one house, at the same time, all the time, not just some or part of the time, they are always there. The rooms all exists at the same time.
With this metaphor it's easy to imagine oneself being in one room at a time, it might even be possible to imagine oneself with a foot in two of the rooms. Although right now I am imagining I am the house, I embody all the rooms, the rooms are me, all the time, no matter where I go. These ideas of self are me and I can't not be in the rooms if I am the rooms. Can I?
Whether I'm alone or if I'm being witnessed I am all these places, thoughts and choices. I've never felt quite this awake about how people exist in multiple dimensions. It makes turning your head a much bigger project than if you were just one thing. I talk about using precise and spontaneous methods in my work to create line and emotive content. The precise is what I know, what I control, how I construct something and the spontaneous is how I don't control something, how forces outside my physical presence and knowledge react, respond, affect what I have done up to the point I no longer try to create precision.
The process of not being in control happens to life all the time; things happen involuntarily in our biology, environment, evolution, education that construct culture in a way that is the path of least resistance, practical, functional and surely loads of other adverbs that are logical. What I find interesting is this cocktail of being aware of being in simultaneous places and spaces with precision and chaos. This is a process of life, and it's constantly changing and staying the same. Staying the same as in your personal history but transforming because what you learn and the different perspectives you gain the more experience a person has. It makes the past look like a whole new landscape.
The inner landscape has just evolved inside me, it feels vaster than it did when I closed my eyes and could feel infinite space. It's an unfamiliar lense that I have been wearing, it makes the world move in slow motion, the past, present and future all in stride.