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RAE 2008

fine art

Patrick Brill, Art U Need

Ben Cain, Places of Transition

Brian Falconbridge, Manufactured in the UK

Neil Ferguson, Imagine/Image

David Howells, Encyclopaedia

Chris Jennings, Scrutiny and Immanence

Nico De Oliveira, Traveling (Light)

empire-of-senses Nici Oxley, The empire of the senses

Clare Qualmann, Walkwalkwalk

Ian Robertson, After Hiroshima

Susan Skingle, Collective Response

Chris Smith, Now They Are Surrounded

euro-miss Camilla Wilson, Euro Miss


Patrick Brill (a.k.a. Bob and Roberta Smith)
Fine art studio practice, including painting, video, music, sculpture and performance; art and democracy; art as public provocation.

Email: p.brill@londonmet.ac.uk

Ben Cain

Production of installations, performances and printed matter that deal with the convergence of theatre and documentary information, with a particular interest in facilitating and highlighting the viewers’ role in the development of subject.
Keywords: agency, history, performance.

Email: b.cain@londonmet.ac.uk

Professor Brian Falconbridge PRBS

Studio-based sculptural practice; twentieth-century Western sculpture; the use of bronze; Japanese art and culture; the cross-cultural in relation to Euro-Asian thought, process and artefact.

Email: b.falconbridge@londonmet.ac.uk

Neil Ferguson

Developing personal "art systems", rules, methods and strategies to track imagining through image.
Recording imaging through use of the series; using drawings and paintings as thinking tools; capturing momentary experiences; emphasising the obsessive in making; highlighting "internal detail" in situations and objects and promoting "almost nothings" and "wee thoughts".
Structuring art events, art projects and essayistic approaches to art production.

Email: n.ferguson@londonmet.ac.uk

David Howells

(i) How is the future visualised? This follows from my MA dissertation on the Reconstruction of the Berlin Stadtschloss as an Historical Projection. I am pursuing further research in this area with a view to a PhD proposal, possibly under Adrian Rifkin as supervisor. In the mean time, I am writing an article (provisional title: Crystal Palace: Archaeology of the Future) for Activate magazine.
(ii) A cognitive approach to drawing. In particular, a generic approach to graphic practices which might encompass drawing and writing equally. This follows from my teaching on the Drawing Systems modules and editorial role in Knight's Move journal.

Email: d.r.howells@londonmet.ac.uk

Chris Jennings

The representation and "embodiment" of that which may otherwise be considered "invisible" or "intangible" but nonetheless may be experienced as having "real" presence; the physicality of oil paint coupled with the paradoxical use of steel or wood panels to embody absence; making work which, by virtue of its specificity, its physical weight and attention to detail, will "dissolve" into itself; the power of saturated colour to hover in space and remain as an after-image, a visual memory, to reconstitute itself on top of another form; the immanent or numinous; connection, fracture and "wholeness".

Email: c.jennings@londonmet.ac.uk

John Keefe

Physical Theatres: physical acting and physical performance; total theatre; theatre-performance-theory; Text-Body-Sites-Spaces; mask and theatre; Theatre-Film-Performance Dramaturgy; Greek and modern theatre, including Brecht and Beckett.

Email: j.keefe@londonmet.ac.uk

Dr Mike King

The intersection of art, science and the spiritual; the refraction of the spiritual into contemporary culture, and its location in the development of the Western mind; the digital art including image and application, practice, theory and development.

Email: mike.king@londonmet.ac.uk

Nico De Oliveira

The practice, theory and dissemination of contemporary fine art; installation art; artists' writings; contemporary fine art as a collaborative process; the extension of the role of the visual artist beyond its traditional remit; inter-disciplinary crossover links generated with non-art activities.

Email: n.deoliveira@londonmet.ac.uk

Nici Oxley
Contemporary fine art studio practice through the use of the object, installation and film; scale and its mnemonic relationship including the familiar, the uncanny, miniaturisation, measurement and comparison between physical objects; the 'new' artwork and prior experience by the viewer.

Email: n.oxley@londonmet.ac.uk

Clare Qualmann

Walking as a mode of art practice; collaborative practice; repetitive acts of making; domesticity, the ordinary and the everyday; processes and their relationship with the generation of ideas; the language of display; materials and meaning.

Email: c.qualmann@londonmet.ac.uk

Linden Reilly

Art and applied art practice; the nature and operation of tastes; epistemology and research methods for the arts; theories of language, imagination, creativity, perception, and cognition pertaining to art.

Email: l.reilly@londonmet.ac.uk

Ian Robertson
Fine art studio practice; art and epistemology; the relationship between subjectivity and social context; drawing and photography and considerations of place, space and event.

Email: i.robertson@londonmet.ac.uk

David Skingle
Studio-based printmaking including photography, mark making, etching, screen-printing and book making; printmaking and Zen; Japanese art and culture; the cross-cultural in relation to Western artistic visual practice.

Email: d.skingle@londonmet.ac.uk

Susan Skingle

Fine Art Studio practice sculpture, drawing and printmaking; how materials might be chosen and used to depict ephemeral subjects or to represent everyday adages; the construction process, in particular the repetition of fragments as a demonstration of the investment of time; historical art collections as source material; collecting and methods of display, re-scaling and containment.

Email: s.skingle@londonmet.ac.uk

Chris Smith

Research methods in art and design; rules and reflective practice in art and design; the nature of the sociocultural role of artworks; art and social contexts.

Email: c.d.smith@londonmet.ac.uk

Paul St George
Investigating the interplay between time and movement in events, recordings and presentations in fine art. The aim is to make works and to develop a medium through which contemporary artists can continue the aims of the Chronophotographers and through which contemporary viewers can gain a deeper experiential understanding of time and movement.

Email: p.stgeorge@londonmet.ac.uk

Camilla Wilson

Painting; painting’s relationship to photography and film, to interiors and architecture; the use of light, shadows and projections in painting; doubling, the uncanny, and reflexivity in representation.

Email: c.wilson@londonmet.ac.uk

London Metropolitan University