Wimbledon MA Show 2018

Thursday 6th September – 13th September (closed 9th September)

Wimbledon College of Arts,  Merton Hall Rd, London, SW19 3QA

The Graduate School is pleased to announce that five of our Research Students will be showing their practice at the Wimbledon MA Show.

  • Ana Teles
    • My practice-based research aims to address questions arising from the process of copying another artist’s painting or drawing from a practical, theoretical and ethical perspective. The methodology raises inevitable questions intrinsic to copying: what is the value of authenticity and originality? I am interested in approaching established male artists, whose works already have a strong presence in the art world, and negotiating my own role as a female artist in relation to them and to the copies I make.
      As part of this project’s methodology, I want to understand how it ‘feels like’ to have a painting copied, so I suggested to a few Camberwell, Chelsea, Wimbledon students to re-create my work and they accepted the challenge. For this exhibition, I propose to show my ‘original’ paintings and the copies made by the students with the respective agreements created to define the relationship between copy/original, student/I and the destiny of those copies.
  • Bridget Harvey
    • Repair (once household practice, then chore outmoded by increased consumption) is now in a third wave, seen also as a political and environmental choice, and increasingly an innovative and exciting creative mode.
      Simultaneously embedding, showing and hiding narrative, repair-making before and after the break – while making and while owning – is my focus, aiming to re-story and reconstruct this familiar yet forgotten craft. I take a broad and playful approach, working with domestic objects such as tatty jumpers and broken ceramics, and considering wearing my works, protesting, exhibiting, and facilitating workshops as vital as repair-making itself. Previous research into slowness and playfulness in practice led me to my AHRC PhD, Repair-Making: RepairAbilities of the 3rd wave – Craft, Politic, Community. I investigate social and aesthetic arguments of ‘optional durability’[1]; regain and strengthening of hand-making skills[2]; retraining our ‘consumer brains’[3] to more circular thinking; ownership and the legal rights for tinkering[4]; and use of visibility to encourage others. Repair-making is social as well as material; an emergent field of exciting actions, communities and politics, changing objects, mindsets and habits.
  • Stephanie Spindler
    • My practice-led research explores the structure of experience, using a theoretical feminist phenomenological methodology in relation to a sculptural installation practice, where feminist phenomenology and new materialism intersect to explore the experiential and material engagement of matter and meaning. The research investigates a concept of the female sexed body, the very core of a range of different embodied phenomena: emotions, desires, identity and agency through the process of making/thinking by instrumentalizing the body through my fine art practice. I question what the body is, how through the experience of making might create visibility and presence of what a body might be. I use the format of sculpture installation using a variety of materials, plaster, rubber, paper, fabric, hair, found objects and my body. I use processes of drawing, sewing, casting, collaging and strategies of appropriation and improvisation as well as inventing new ways of making form.
  • Jennifer Wright 
    • My research has been particularly focussed on specific elements of surgical practice and training in order to find commonalities and correlations between the act of drawing and surgery. This has been facilitated by work with virtual learning systems – the EYESi used at Moorfields eye hospital and with the HapTEL system at Kings College Dental Institute. Having made drawings in theatre of surgeons’ work I began to consider the shared physical nature of drawing and surgical practice, particularly around the tactile, haptic nature of procedures, and how this may be codified using drawing. From my initial observations I built up a body of work that I used as a means of consolidating my understand of surgical procedures, and which I used to inform the development of criteria used to assess skills supporting surgical training, which formed a key part of my data collection and analysis in my thesis.
  • Lana Locke (Alumna) 
    • My doctoral research, The Feral, the Art Object and the Social, explores the nature of the
      feral, as manifested in an object-based installation practice of contemporary art that scavenges – physically, socially and metaphorically – in the gap between defined spaces. My conception of the feral draws out the political promise of this indeterminacy: the state of being partly wild and partly civilised and queries distinctions between what, or who, belongs where.

 

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