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wirad

Wales Institute for Research in Art & Design

research directory 2010


2
contents

welcome to the wirad research marketplace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
wirad programme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
speaker’s biographies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
keynote speaker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
discussion panel members - ‘the value of research’. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

university of wales, newport. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5


school of art, media and design
research groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
the european centre for photographic research (ecpr). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
the performance & screen media research group (psmrg) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
synergy computer games design research group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
smart clothes and wearable technology research centre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
the documentary practice research group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

university of wales institute, cardiff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9


research at cardiff school of art & design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
centre for fine art research (cfar). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
sensory design: reactive colours. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
digit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
centre for research in ceramics (crc). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
meat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
research at pdr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
the national centre for product design research (pdr). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

national library of wales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14


research mission & projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

aberystwyth university . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
school of art
research groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
school of art museum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
centre for studies in the visual culture of religion (csvcr) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
ceramic collection & archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

swansea metropolitan university. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19


dynevor centre for arts, design and media
research groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
centre for lens-arts & science interaction (clasi). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
science, art & technology network (satnet). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Creative industries research & innovation centre (ciric). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
applied arts research group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
lens based research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
landscape research group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
drawing research group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
fine art research group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

national museum wales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23


research themes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
curatorial research interests. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

university of glamorgan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
division of visual art
research centres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
centre for the study of media & culture in small nations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Visual Arts Research Unit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

glyndŵr university. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
research groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
research centre for art & design (rcad). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
centre for pedagogical research (cpr) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

existing wirad research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30


creative pedagogies
research partners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Welcome to the WIRAD Research Marketplace 3

welcome to What this gathering across the potential WIRAD


partner institutions demonstrates, is the impressive
Wales, and for individual members within WIRAD
to represent a resource for each other as we pursue

the wirad breadth, range and quality of Art and Design


scholarship in Wales. It had always been the ambition
work of world-leading and international quality. The
following pages not only reflect the diversity and

research to widen the original membership of WIRAD to


create a truly pan-Wales body with improved links
range of research activity across Wales but, it also
suggests exciting institutional partnerships and inter-

marketplace between institutions such as National Libraries,


National Museums and the academic community.
disciplinary opportunities.

We are extremely grateful to Sir Christopher


It is through real collaboration and joint project Frayling and the members of the discussion panel
work that WIRAD will create critical mass, strategic for generously sharing their time, knowledge and
partnerships, capacity and coherence from the many experience. We hope that this event will move
locations of art & design research excellence across WIRAD closer to realising its full potential as an active
the country. This can only give weight to a central national and global research network, and in doing
informing idea that collaboration on this scale will so further our ambitions for advancing scholarship,
produce an entity that is greater than the sum of its pedagogy, and their social and cultural impact.
parts, and allow us all to find a greater national context
for our work. Derek Lawther, Dean of School of Art, Media & Design,
University of Wales, Newport
There is obvious potential here for Art and Design
education in Welsh Universities and Colleges to
provide an economic and cultural resource for

croeso i Mae’r cynhaeaf yma o ffrwyth y sefydliadau sy’n


ddarpar-bartneriaid yn WIRAD yn arddangos
gyfer Cymru, ac y gall aelodau unigol o fewn WIRAD
fod yn adnoddau i’w gilydd wrth i ni fwrw ati gyda

farchnad hyd a lled, cwmpas ac ansawdd ysgolheictod


Celf a Dylunio Cymru. Yr uchelgais erioed fu
gwaith o safon ryngwladol a byd-arweiniol. Mae’r
tudalennau a ganlyn nid yn unig yn adlewyrchu

ymchwil ehangu aelodaeth wreiddiol WIRAD i greu corff


gwirioneddol genedlaethol gan wella’r cysylltiadau
amrywiaeth a chwmpas y gweithgaredd ymchwil a
geir ledled Cymru, ond y maent hefyd yn awgrymu

wirad rhwng sefydliadau fel y Llyfrgell Genedlaethol,


yr Amgueddfeydd Cenedlaethol a’r gymuned
academaidd.
partneriaethau cyffrous rhwng sefydliadau a
chyfleoedd rhyngddisgyblaethol.

Yr ydym yn eithriadol o ddiolchgar i Syr Christopher


Trwy gydweithio gwirioneddol a gwaith project Frayling ac aelodau’r panel trafod am roi mor hael o’u
ar y cyd y bydd WIRAD yn creu màs critigol, hamser, eu gwybodaeth a’u profiad. Gobeithiwn y
partneriaethau strategol, gallu a chydlyniad rhwng y bydd y digwyddiad hwn yn symud WIRAD yn nes
gwahanol ganolfannau rhagoriaeth mewn ymchwil at wireddu ei holl bosibiliadau, a thrwy hynny, yn
celf a dylunio ar hyd a lled y wlad. Ni all hynny ond cyflawni ein huchelgais o ran hyrwyddo ysgolheictod,
cryfhau’r syniad ffurfeiddiol canolog sef y bydd addysgeg, a’u heffaith cymdeithasol a diwylliannol.
cydweithio ar y raddfa hon yn creu endid a fydd yn
fwy na chyfanswm ei gydrannau, a’n galluogi i gyd i Derek Lawther, Deon yr Ysgol Gelf, Cyfryngau a Dylunio,
ddarganfod cyd-destun cenedlaethol mwy ar gyfer Prifysgol Cymru, Casnewydd
ein gwaith.

Mae posibiliadau amlwg yma y gall addysg Gelf


a Dylunio ym mhrifysgolion a cholegau Cymru
ddarparu adnodd economaidd a diwylliannol ar

drwm lecture theatre, national library of wales

10.00 - 10.45 Registration / Tea & coffee in Drwm Theatre Foyer

11.00 Welcome – Andrew Green (Librarian, National Library of Wales)

11.05 - 11.15 Introduction – WIRAD Board


wirad

11.15 - 12.00

Keynote Speaker – Sir Christopher Frayling – Research in and
through the Creative Arts: What’s the problem?
programme 12.00 - 12.10 Short break

12.15 - 1.00 Panel discussion / Q&A – The Importance of Research & The
2nd march 2010 Possibilities of WIRAD
1.00 - 2.30 Lunch

2.30 - 5.30 WIRAD Research Marketplace event – Drwm Theatre Foyer

5.45 - 6.45 Drinks Reception


4 Speaker’s Biographies

speaker’s biographies

keynote speaker
sir christopher frayling
Sir Christopher Frayling is Rector of the Royal College Christopher is well-known as an historian, critic and an
of Art, the only wholly postgraduate university of art and award-winning broadcaster, with his work appearing regu-
design in the world, and also Professor of Cultural History larly on network radio and television. He has published
there. In addition, he was until recently Chairman of Arts seventeen books and numerous articles on contemporary
Council England, the largest funding body for the arts in art, design, film and the history of ideas. Christopher has
the UK, he is the longest-serving Trustee of the V&A, and been, for as long as he can remember, a passionate cam-
Chairman of the Royal Mint Advisory Committee, which paigner for the importance of the creative industries, and
selects the designs for new coins. He has in the recent past of public investment in the arts.
been Chairman of the Design Council, Chairman of the
Crafts Study Centre and a Governor of the British Film
Institute.

panel members
peter florence for the Arts Council of Wales where she set up Wales Arts Spencer-Davies was Head of Gallery at Oriel, the Arts
Peter Florence is the Director of the Hay Festivals group, International, a ground breaking initiative carried out in Council of Wales Gallery, Cardiff, where she worked collab-
which runs festivals in Colombia, Spain, Lebanon, The partnership with the British Council. oratively with Chapter and Ffotogallery to raise the profile
Maldives, Kenya, Kerala, Ireland and Wales. He was edu- Yvette spent 3 years working in Brussels as the Policy of Wales based artists. Exhibitions included Kazuo Katase,
cated at Cambridge and The Sorbonne. Peter has an Hon- Manager for the Wales European Centre and played an Kathy Prendergast, Bill Viola, Iwan Bala, Reiko Aoyagi,
orary DLitt from the University of Glamorgan, is a Fellow active role in cultural policy debates within the EU before David Garner, Shani Rhys James, Louise Bourgeois, Susan
of Hereford College of Art and Creative Fellow at the Uni- returning to Cardiff to write the City’s bid for European Hiller and Siobhan Hapaska.
versity of Wales Bangor. Capital of Culture 2008. She was Director of the Cardiff During the 80s Jenni Spencer-Davies worked as Exhibi-
2005 cultural programme focusing on community devel- tion Organiser for The Douglas Hyde Gallery, Dublin. She
opment through the arts. She is an active member of the also lectured at the National College of Art and Design,
andrew green UK Cultural Cities Network that links those cities that Dublin and was Director for the post-graduate course in
Andrew Green has been Librarian of the National Library received Urban Cultural Programme funding to work with Arts Administration at University College, Dublin.
of Wales (http://www.llgc.org.uk) at Aberystwyth since arts and regeneration. Yvette is also the Lead Adviser for
October 1998. The National Library is a legal deposit the North East Cultural Leadership Programme and the
library and is the de facto central archive repository for UK representative on the EU working group on Cultural louise wright
Wales. It also holds important collections of manuscripts, Mobility. Louise joined the British Council in 1997 and was
maps, pictures and photographs, and houses the National She has published widely on arts and culture. Most appointed to her current position based in Wales in October
Screen and Sound Archive of Wales. recently in the Cultural Leadership Programme journal 2008. She has managed an international programme of
Up to 1998 his entire career was spent in British uni- and is a frequent speaker at international arts and cultural touring exhibitions and projects across visual arts, media
versities and their libraries: University College of Wales events. Yvette was a speaker at the World Summit on Arts arts, design and applied craft. Working in partnership with
Aberystwyth (1973-74), University College Cardiff and Culture, Johannesburg in September 2009. institutions such as Tate, British Library and Crafts Council
(1975-89), University of Sheffield (1989-92), University of on projects including History in the Making: A Retrospective
Wales Swansea (1992-98) - the last as Director of Library of the Turner Prize held at the Mori Art Museum, Tokyo,
and Information Services, responsible for IT services and emma posey 2008; Magic Pencil, curated by Quentin Blake launched in
networking. Andrew is an officer or member of numerous Emma Posey is founding Director of bloc, an organisation the UK in 2002 and presented in over 55 countries, and
bodies in the area of library and information work. He was based in Wales supporting the creative engagement with the innovative Fabric of Fashion shown in Northern Europe
instrumental in establishing ‘Gathering the Jewels’ a pio- new technology. She has lectured and written widely on and Russia. As Arts Manager in Turkey in 2007 Louise
neering, all-Wales cultural digitisation project, and its suc- creativity and technology as well as focusing on the effects developed and delivered a colloquium and creative educa-
cessor body, Culturenet Cymru. of technology on ‘place’ in her own art practice. Her past tion programme in partnership with the BBC Symphony
As Librarian, Green has ensured his connections with lecturing experience includes Course Leader of the Cre- Orchestra and made a successful bid for EU funding for
higher education remain strong. He is a member of the ative Technology Masters at University of Salford and the Cultural Bridges creative programme. Louise currently
Council of the University of Wales Aberystwyth, of the visiting lecturer at University of Wales Institute Cardiff leads the British Council’s Arts and Creative Economy
Courts of several universities in Wales, and holds Honorary (UWIC) and University Wales Newport (UWN). She has programme for Wales to develop international opportuni-
Fellowships in the University of Wales Swansea, Glyndŵr edited various visual arts publications and acted as consul- ties, working closely with Welsh Assembly Government,
University and the University of Wales Lampeter. He tant on external research projects. National Assembly for Wales, Arts Council Wales, Wales
chaired a Steering Group of the Higher Education Funding Arts International and other agencies in Wales. She is cur-
Council for Wales responsible for developing a Wales-wide rently advising on a British Council product focusing on
strategy on Welsh medium higher education. jenni spencer-davies Research and Innovation.
Jenni Spencer-Davies is Curator of the Glynn Vivian Art Louise has an MA in Fine Art from Chelsea College of
Gallery, Swansea, Wales. Since her appointment in 1999 Art and Design, London.
yvette vaughan jones she has initiated plans for the future renewal of the Gallery;
Yvette Vaughan Jones is Director of International Visit- alongside the development of the Collection, she has also
ing Arts. Yvette took up post as Director in October 2005. organised many exhibitions, working with a wide variety
She was previously Director of the Cultural programme of artists including Mark Wallinger, Bill Woodrow, Richard
for Cardiff 2005. She has a long career in the arts working Deacon, David Nash, and Terry Setch. From 1989-1998,
University of Wales, Newport 5

University
of Wales,
Newport
School of Art, Media and Design
The School of Art, Media and Design has a long history of research Mae gan yr Ysgol Gelf, y Cyfryngau a Dylunio hanes maith o lwyddiant
success, and is a founding partner of the Wales Institute for Research in mewn gwaith ymchwil, ac mae’n un o sylfaenwyr Sefydliad Cymru ar
Art and Design (WIRAD). The School can trace its roots back to the gyfer Ymchwil mewn Celf a Dylunio (WIRAD). Gall yr Ysgol olrhain
formation of the Newport Mechanics Institute in 1841. As Newport ei gwreiddiau yn ôl at sefydlu Athrofa Peirianwyr Casnewydd ym 1841.
College of Art, it was one of the first art colleges in the UK to offer Fel Coleg Celf Casnewydd, ef oedd un o’r colegau celf cyntaf yn y DU
honours degrees in Fine Art and Graphic Design. Since that time, and i gynnig gradd anrhydedd mewn Celfyddyd Gain a Dylunio Graffig.
as a major School within the University of Wales, Newport, it has built Ers hynny, ac fel Ysgol o sylwedd o fewn Prifysgol Cymru, Casnewydd,
a reputation for innovative creative practice and excellence in research, mae wedi adeiladu enw am arfer creadigol arloesol a rhagoriaeth
extending an international reputation for photography research and mewn ymchwil, gan ehangu ei bri rhyngwladol am ymchwil ym maes
practice into research across art and design. ffotograffiaeth i gynnwys ymchwil mewn celf a dylunio.

Home to more than twenty PhD students and two Leverhulme post- Mae’r Ysgol yn gartref i fwy nag ugain o fyfyrwyr PhD a dau
doctoral researchers, AMD research is central to the school’s identity. ymchwilydd ôl-ddoethurol Leverhulme ac mae ymchwil celf a
It provides the raw material and context for our taught programmes at dylunio yn ganolog i’w hunaniaeth. Mae’n darparu’r defnyddiau crai
both undergraduate and postgraduate levels. It also has an important a’r cyd-destun ar gyfer ein rhaglenni addysgu ar lefelau is-raddedig ac
economic function, and the intellectual capital created by our research ôl-raddedig. Mae ganddi swyddogaeth economaidd bwysig hefyd,
and scholarship underpins Third Mission activities, which actively ac mae’r cyfalaf deallusol a greir gan ein hymchwil a’n hysgolheictod
contribute to the economic regeneration of Wales. yn sail i weithgareddau Trydedd Cenhadaeth sydd yn cyfrannu’n
weithredol at adfywiad economaidd Cymru.
We therefore aim to sustain and develop further a vibrant and
significant research practice, drawing on and contributing to the Ein nod felly yw cynnal a datblygu ymhellach arfer ymchwil egnïol a
creative possibilities offered by contemporary technological culture. phwysig, a fydd yn elwa ar ac yn cyfrannu at y posibiliadau creadigol
Our research ethos is grounded in the practice and discourse of the a gynigir gan ddiwylliant technolegol cyfoes. Mae ethos ein gwaith
field as realised, reasoned, critiqued and theorised by current high-level ymchwil wedi ei wreiddio yn arfer a disgwrs y maes, sy’n cael ei
practitioners operating at the highest national and international levels. wireddu, ei ymresymu, ei ddadansoddi’n feirniadol a’i ddamcaniaethu
gan ymarferwyr cyfoes dawnus sy’n gweithredu ar y lefelau
cenedlaethol a rhyngwladol uchaf.
6 University of Wales, Newport // Research Groups

research groups
the european centre for photographic research (ecpr)
The European Centre for Photographic Research (eCPR) eCPR’s activity involves conferences, symposia,
was established in 2000, and assumed its current title in research seminars, publications, exhibitions and curating.
2008. With a substantial network of European links, eCPR
supports work that engages with the cultural histories of potential research projects:
photography and a range of contemporary debates. Col- 1. Curatorial practice as research; the cultural diversity of
laborative research is a vital part of the Centre’s work and photography in Wales; museums & libraries without walls;
we have institutional partners in France, Belgium, Portugal, contemporary art, the archive and historical consciousness
Contact: russell.roberts@newport.ac.uk
Greece, Holland, Italy and the Czech Republic, as well as a
number of organisations across the UK. 2. Disruptive and antagonistic art practices; consumer cul-
Under the unifying theme Photography at The Borders, ture; video art
Contact: mark.durden@newport.ac.uk
eCPR fosters lively and experimental engagements with
photography as an expanding field of inter-disciplinary 3. Dialogues between myth and technology, nature and cul-
ture, in relation to landscape and the feminine
research. Photography at the Borders acknowledges the
Contact: helen.sear@newport.ac.uk
perceived boundaries of the photograph and contests
them through a range of research projects. Encompassing
Helen Sear, from art, documentary and fashion photography, curating and contact: Professor Mark Durden,
the series Spot 3, criticism, eCPR’s diverse range of interests and expertise mark.durden@newport.ac.uk
Lambda print, 2003 uniquely positions the Centre to address photography’s
multiple and shifting forms.

the performance & screen media research group (psmrg)


The Performance and Screen Media Research Group ginal to any focus on live action cinema. This includes a
(PSMRG) is a truly interdisciplinary group, with its mem- concern with popular culture and screen media, and with
bership drawn from the full range of academic and practice far more experimental work. We are seeking to exploit the
backgrounds in the School of Art, Media and Design. The new knowledge and insight that can result from working
group includes the theoretical areas of film studies, media across disciplines and traditions, and harness the creative
studies, theatre studies, animation studies and cultural potential of engaging in a dialogue with colleagues with a
studies, and theatre practice, film practice and animation different critical apparatus and practice toolset. PSMRG is
practice. Key interests include performance in all forms of also the home to smaller research groupings in the areas of
screen media (both more traditional and interactive), screen digital games and documentary filmmaking.
media consumption practices, remediation and adaptation Florence Ayisi,
across media, the limits and possibilities of narrative across potential research projects: Sisters in Law, 2010
screen media, formal experiment and the avant-garde, as PSMRG is keen to develop projects through its subsidiary re-
well as the production of theoretically informed innovative search groups and across screen media generally that investigate
short film, digital artefacts and animation. questions of practice, culture and consumption, and provide
concrete examples of the interchange between theory and
the documentary practice
PSMRG goes far beyond traditional disciplinary
research to also engage in the study of, and production practice. research group
of, those screen artefacts that can be considered mar- contact: Dr Barry Atkins barry.atkins@newport.ac.uk The Documentary Practice Research Group is located
within International Film School Wales. The members of
the group are engaged in a variety of audio-visual practice-
synergy computer games design research group based and text-based research activities in documentary
Synergy Computer Games Design Research Group engages ence. Our goal is to initiate and conduct novel and innova- practice; using a diverse range of documentary modes of
in practice-based and theoretical research into the creative tive research that explores and shares new visions of games inquiring various aspects of Social, Economic, Political and
aspects of computer game form and related interactive and game play. Cultural life in a variety of geographical spaces and con-
moving image media. It draws on the established prac- texts – locally, nationally and internationally.
tice and experience of internationally recognized games potential research projects:
designers, producers and theorists to explore, and exploit, 1. Novel control methodologies for digital game play. potential research projects:
the intersection between games and our understanding of 2. The exploration of procedural animation and associated Members are keen to pursue research in the following areas: city-
other artforms. control methods. scapes; new visions of women; community, memory & Identity;
Synergy seeks to explore (through play), critique 3. Experimental game forms, and the relationship between art religion and children; first person narratives, oral storytelling;
avant-garde documentary, political documentary; women’s his-
(through theory) and expand (through practice) the nature and gallery games practice and the commercial industry.
tory in motion, animated documentary.
of the gaming experience. The purpose of our project-led
activity is to extend the reach of game form to a wider audi- contact: Dr Barry Atkins barry.atkins@newport.ac.uk contact: Florence Ayisi florence.ayisi@newport.ac.uk

smart clothes and wearable technology research centre


Informed by advances in the application of technical tex- Using a Technology Enabled Garment System. The team potential research projects:
tiles, micro-technologies and new manufacturing tech- at Newport is collaborating with Co-Investigators from 1. The development of a new inter-disciplinary shared lan-
niques, this multi-disciplinary team is developing a shared the University of Westminster, the University of Salford, guage for researchers across the area of smart clothes and
language through collaboration in the research and devel- the University of Ulster and the University of Brighton. wearable technology.
opment of innovative smart clothing that addresses end- This team, and project consultants, will be supported by an 2. Within realistic commercial constraints, the design of smart
user needs from technical, aesthetic and cultural view Advisory Group made up of industrial partners and trade clothing that leads to products that work, look attractive
points. The Centre, led by Jane McCann, has also been networks. and are highly usable.
successful in attracting major research funding for a three 3. The role of wearable technology and how it can be
year project under the UK’s joint research council’s New deployed to create near market prototypes, examining
motivations and commercial possibilities, in areas such as
Dynamics of Ageing Programme, Design for Ageing Well: contact: Jane McCann jane.mccann@newport.ac.uk
sport and fitness, corporate wear and inclusive design.
Improving the Quality of Life for the Ageing Population
University of Wales, Newport // Research Active Staff 7

Left: Jo Longhurst, Work in


Progress, 2010
Above: Ken Grant, Untitled, 2010
Below: Mark Durden, still from
video, Openings are always awkward,
2009

research active staff


dr barry atkins, Associate Dean, Research and Enterprise. florence ayisi is Reader in Film Practice at the International ventional photographic perspective. As a practicing artist she is
His research interests focus on games aesthetics and questions of Film School Wales. She has interests in both theory and practice concerned with the relationships between mythology and tech-
textual pleasure, and has published a number of articles on games aspects of film, and is an award winning film maker. Her research nology, nature and culture, and an ongoing re-examination of
narrative and aesthetics. He founded the Performance and Screen interests include Representations of Africa in the media, African landscape in relation to the feminine. helen.sear@newport.ac.uk
Media Research Group. barry.atkins@newport.ac.uk Cinema Audiences, African Women and Cinema and the role of
Digital Video in Community Development. She co-founded the dr andy smith, Academic Leader, Performance. Smith has
Geraint Cunnick, Head of Department – Fine Art & Photog- Documentary Practice Research Group. published internationally in various book chapters, essays and
raphy. In the last 15 years his practice has shifted from fine art florence.ayisi@newport.ac.uk journal articles in theatre criticism and theory and is currently co-
to commercial concerns with a continued interest in constructed running a three-year funded research project exploring the peda-
narrative and tableaux. His work has been exhibited at the Saatchi russell roberts is Reader in Photography within the Euro- gogy of Screen Acting and Directing. andy.smith@newport.ac.uk
Gallery and The Photographers’ Gallery, London. Current pean Centre for Photographic Research. He is a curator and
research is concerned with the dissemination of contemporary writer on art and photography with a profile of work with national dr ian walker, Reader in the History of Photography. In the
photographic and art practice through the medium of Welsh. and international museums and galleries. Interests include the past few years, Walker’s academic research has mainly focused on
representation of history; artists and archives; collecting prac- the relationship between Documentary Photography and Surre-
professor mark durden, Head of eCPR. Mark has an estab- tices; curatorial strategies; the cultural diversity of photography. alism. ian.walker@newport.ac.uk
lished reputation as a writer on photography and has published russell.roberts@newport.ac.uk
over a hundred reviews and essays. Mark is also an artist. Since peter bobby, Senior Lecturer, Photographic Art. Bobby has
1996, as part of the artists’ group Common Culture he has exhib- dr helen sear, Reader in Photography and Fine Art Prac- exhibited at a number of galleries both in the UK and Europe,
ited regularly both nationally and internationally. tice. Working with predominantly lens-based media, installation, including Ffotogallery in Cardiff who published his first mono-
mark.durden@newport.ac.uk and photography, her research into relationships between, vision, graph, ‘Reception’ in 2003. peter.bobby@newport.ac.uk
touch and surface, combines hybrid processes that disrupt con-
8 University of Wales, Newport // Research Active Staff

richard clegg, Course Leader for BA (Hons) Photography clive landen, Senior Lecturer, Documentary Photography. magali nougarède, Senior Lecturer, Photographic Art.
for Fashion & Advertising. Clegg’s current research explores Landen’s research reflects an engagement with the animal world Nougarède’s current research focuses on the study of “Fabric” as
visual associations between religion, aesthetics and photography and our unique relationship to it. In pursuing his interest he has a cultural intermeshing between personal history, memory and
to reflect on gender and race. richard.clegg@newport.ac.uk produced several bodies of work that attempts to address this fas- psychoanalysis and on the role that photography and other visual
cination. clive.landen@newport.ac.uk arts play in conferring symbolic value. In an age where our rela-
ronnie close, Senior Lecturer, Photographic Art, has been tionship to the world is increasingly virtual, and with consider-
developing a body of work since 2004 as part of a practice-led eileen little, Senior Lecturer, Photographic Art. Little’s prac- ation to the central role that digital photography plays in this, the
PhD research project that looks at the formation of historical nar- tice is concerned with Subjectivity, Narrative and History through tactility of textiles offers an interesting counterpoint.
rative. His background is in both academic and the professional image/text work that takes various final forms: installation, book- magali.nougarede@newport.ac.uk
photographic fields and he has developed an integrated approach work and multi-media. eileen.little@newport.ac.uk
to theory and practice in contemporary photographic media. caroline parsons, Programme Leader, MA Animation. Par-
ronnie.close@newport.ac.uk jo longhurst is Leverhulme Fellow at the European Centre son’s research interests centre around the impact of new technol-
for Photographic Research. Her current long-term project, ogy on film spectatorship and photorealistic digitally created or
philip cowan, Senior Lecturer, Film and Video. Cowan has Perfect, is an interrogation of the process of training, exploring enhanced bodies, where the viewer is no longer able to differen-
worked on over 80 productions, including; Drama, Documen- the physical and emotional experiences of elite gymnasts and tiate between live action and cartoon, between what is real and
tary, Performance, and Animation projects, working for BBC, coaches. I will develop my interest in perfection by tackling it what is not real. caroline.parsons@newport.ac.uk
ITV, C4, S4C, and numerous independent companies. He is cur- from this new perspective. I also want to expand my photographic
rently undertaking a PhD on cinematography. practice to incorporate the use of time-based media and appropri- alise piebalga, Senior Lecturer in Fine Art. Piebalga’s research
philip.cowan@newport.ac.uk ated images. jo.longhurst@newport.ac.uk pivots around six closely related, but identifiable subject areas:
new media art, the nature of human and the nature of technol-
lei cox, Academic Leader, Fine Art and Foundation, is an matthew lovett, Programme Leader for Creative Sound and ogy, constructs of artificiality, ambiguity in perception and seeing
installation artist, photographer and music composer who also Music. As a performer and composer, his interests include experi- humans and technology as osmotic, open and syncretic systems.
works in broadcast media. lei.cox@newport.ac.uk mental, electronic, improvised, popular and traditional musical alise.piebalga2@newport.ac.uk
forms. His current research includes aesthetics, critical theory
jason evans, Senior Lecturer, Photography for Fashion and and political economy in relation to contemporary music prac- paul reas, Senior Lecturer, Documentary Photography, has
Advertising. Evans is a multi-disciplinary photographer whose tice. matthew.lovett@newport.ac.uk exhibited widely, both nationally and internationally, and his work
tenuously interlinked work includes portraiture, curation, sculp- has been included in many major survey exhibitions of British
ture, record sleeves, street photography, web based projects and dr kieran lyons, Programme Leader, Fine Art, completed Photography. He has published two books, I Can Help‚ and Flog-
writing. His research interests include contemporary Japanese a PhD thesis that considered the implications of militarism in ging A Dead Horse; he is currently working on a series of street
photo books and the lost opportunity of Fashion photography. France and its influence on Marcel Duchamp, appearing first in photographs commissioned by Southwark Council and London
Further information at www.jasonevans.info. his text ‘The Jura-Paris road’ and then resurfacing in his practice College of Communication. paul.reas@newport.ac.uk
jason.evans@newport.ac.uk 1912 - 1915. This continued as a discernible preoccupation in
his work until 1945, and Lyons continues to explore this area. andreas rüthi, Senior Lecturer, Fine Art. Rüthi’s still life
dr alexander graf, Senior Lecturer, Film and Video. Graf kieran.lyons@newport.ac.uk paintings in oil form a developing series. Their references and
has published widely on European cinema, including a mono- associations show a wry humour, a dialogue with art history as
graph on the German director Wim Wenders (Wallflower james manning, Senior Lecturer in Animation. Developing with the nature of reproduction and repetition: but the logic of
Press, London 2002) and writing on Lars von Trier’s 2003 Film upon his extensive experience as a CG animated film-maker, his the procedure suggests a kinship with forms of abstraction, and
DOGVILLE, as well as developing a theory of avant-garde film. research focuses on developing the relationship between move- with conceptual art in its classic concern with time.
His current research interests are avant-garde and experimental ment analysis techniques and animated character performance. andreas.ruethi@newport.ac.uk
film and video, and audiovisual sound aesthetics. james.manning@newport.ac.uk
alexander.graf@newport.ac.uk jane simon is Leverhulme Fellow at the European Centre for
adam martin, Programme Leader, Interactive Media. Martin Photographic Research. She has a PhD in Gender and Cultural
ken grant, Programme Leader, Documentary Photogra- is currently studying for a PhD in user interfaces and interaction Studies from the the University of Sydney. Her research examines
phy. Grant’s work is held in major public and private collections, design for mobile and wearable technologies and has co-authored contemporary visual practice across the disciplinary boundaries
including those of the Museum of Modern Art, New York and the papers published within the IEEE proceedings from the ‘Inter- of film and media studies, art history and cultural studies. Jane’s
Portland Art Museum. He has worked on long term, over-lapping national Symposium on Wearable Computers’. He is actively writing and art practice is compelled by domestic objects and
projects since the 1980s and is currently undertaking a project on engaged with ongoing academic and commercial research within architectural minutiae and she works with photography and book
the social landscape of Hereford. ken.grant@newport.ac.uk the art school and has recently developed a proof-of-concept arts. Her articles have been published articles in Continuum, Cul-
location-based gaming platform. adam.martin@newport.ac.uk tural Studies Review and Media/Culture.
dr coral houtman, Senior Lecturer, Film and Video, is a jane.simon@newport.ac.uk
fiction filmmaker and theorist particularly interested in integrat- jane mccann, Director of the Smart Clothes and Wearable
ing theory and practice in her research. Her current research Technology (SCWT) Research Group. McCann gained an dr katy stevens is a researcher in technical textiles and design.
areas are: narrative theory, gender, psychoanalysis, performance international reputation as a leading authority on the subject Her research interests include the uses of technical fabrics and
theory, film form and style together with scriptwriting and direct- of performance sportswear. Her focus has been on establishing innovative design in performance and technical clothing.
ing. coral.houtman@newport.ac.uk an academic community that can break down barriers between katy.stevens@newport.ac.uk
design and science subject areas such as textiles, fashion, graphic
richard hurford, Senior Lecturer, Computer Games Design. and product design and those in the spheres of human biology, roger wooster, Senior Lecturer in Performing Arts. Woost-
Hurford is currently studying for a PhD in design processes for information technology, contextual studies and marketing. er’s research into the state of Theatre in Education in Wales formed
convergent technologies, with specific focus on smart clothes and jane.mccann@newport.ac.uk the basis of his book, Contemporary Theatre in Education which
wearable technology product and service development. Identify- was published in 2007 and is widely used in Applied Drama
ing problems within the design process and suggesting potential corrado morgana, Senior Lecturer, Computer Games courses. Recent research interests include training methodologies
remedies. His work has relevance out side of the smart clothes and Design. Morgana is a media artist, electronic musician and for actors and the relationship between audience, celebrity and
wearable technology area, guiding advance product development researcher. His research examines arts and videogames crossover performance as expressed through gesture and fashion.
between industry sectors, which have not traditionally worked practice, specifically transgressive and subversive production roger.wooster@newport.ac.uk
together. richard.hurford1@newport.ac.uk within existing game engines. corrado.morgana@newport.ac.uk
dr brigitta zics, Programme Leader, MA/MFA Design by
celia jackson, Programme Leader, MA/MFA Printmaking. christopher morris, Head of the International Film School, Practice. Her main research interest research lies in investigations
Jackson’s practice explores the format of the artist’s and/or altered Wales. Morris is an award winning documentary film maker who of human behaviour in technological amplified environments. It
book. Celia Jackson’s current research project seeks to problema- has won the Premios Ondas, RTS and BAFTA awards and prizes focuses on emerging technologies of interaction and their aes-
tise the hegemony within our culture of the visual image, using at the Celtic, Berlin and Chicago film festivals. His recent film thetics capacities through human cognition. She is developing
the artist’s book as a paradigm, and to address issues around (‘An American In Aberfan’, BBC Wales 2006), made in collabora- technological implements and interfaces with the intention of
the ‘white cube’ gallery space by creating exhibitions for display tion with the internationally recognised artist Shimon Attie is a creating agency for new experiences of the user of her work.
in non-traditional venues, including, for example, the reference film to mark the 40th anniversary of the Aberfan disaster. brigitta.zics@newport.ac.uk
library and the internet. celia.jackson@newport.ac.uk chris.morris1@newport.ac.uk
University of Wales Institute, Cardiff 9

University
of Wales
Institute,
Cardiff
Art & design research at UWIC is focused in two areas: Cardiff School of Art & Mae ymchwil celf a dylunio yn APCC wedi’i ganoli mewn dau le: Ysgol Gelf a
Design and the National Centre for Product Design & Development Research. Dylunio Caerdydd a Chanolfan Genedlaethol Ymchwil i Ddylunio a Datblygu
Cardiff School of Art and Design (CSAD) was founded more than 140 years ago. Cynhyrchion. Sefydlwyd Ysgol Gelf a Dylunio Caerdydd fwy na 140 o
A founder member of WIRAD, the School’s record of art and design research and flynyddoedd yn ôl. Mae gan yr Ysgol, un o sylfaenwyr WIRAD, hanes maith o
scholarly activity is also long standing. ymchwil ac ysgolheictod ym maes celf a dylunio.
CSAD has an active and supportive research environment and significant Mae ganddi amgylchedd ymchwil bywiog a chefnogol a chryn arbenigedd
expertise in the various ways in which art and design practice can contribute yn y gwahanol ffyrdd y gall arfer celf a dylunio gyfrannu at wybodaeth. Mae’r
to knowledge. Particular areas of strength include Ceramics, Fine Art, Art meysydd lle mae’n arbennig o gryf yn cynnwys Cerameg, Celfyddyd Gain, Theori
Theory, Interaction Design, Inclusive Design, Textiles, Architecture and Creative Celfyddyd, Dylunio Rhyngweithiol, Dylunio Cynhwysol, Tecstilau, Pensaernïaeth
Pedagogical Practice. The School’s approaches to research, enterprise and learning ac Arfer Addysgol Creadigol. Mae dulliau’r Ysgol o fynd ati i ymchwilio, cynnal
& teaching are mutually supporting, and staff are actively encouraged to ensure that menter a dysgu ac addysgu yn gyd-gefnogol, ac anogir staff i sicrhau bod pob
each activity has significant cross over with each of the others. Our students at all gweithgaredd yn gorgyffwrdd yn sylweddol â’r gweddill. Mae ein myfyrwyr
levels are thereby well positioned to benefit from an enlightened and informed staff ar bob lefel felly mewn safle da i elwa ar staff goleuedig a gwybodus y mae eu
whose research and enterprise activities directly benefit them. gweithgareddau ymchwil a menter o fudd uniongyrchol iddynt.
The School has a thriving and rapidly expanding research student community. Mae gan yr Ysgol gymuned myfyrwyr ymchwil lewyrchus, sy’n prysur ehangu.
We promote interdisciplinary research with other fields of practice or enquiry, for Rydym yn hybu gwaith ymchwil rhyngddisgyblaethol gyda meysydd arfer neu
example Computer Science, Psychology and History and our research is largely ddysg eraill, er enghraifft, Cyfrifiadureg, Seicoleg, a Hanes, ac mae ein hymchwil
contained within centres and clusters. These include: the Centre for Fine Art yn digwydd yn bennaf o fewn canolfannau a chlystyrau, yn cynnwys y Ganolfan
Research, the Centre for Ceramics Research, Creative Teaching and Teaching Ymchwil Celfyddyd Gain, y Canolfan Ymchwil Cerameg, Addysgu i Greu ac
Creatively, Ecological Built Environment Research and Enterprise and the Digital Addysgu’n Greadigol, Ymchwil a Menter Amgylchedd Adeiledig Ecolegol, a
Textiles research group, DIGIT. DIGIT, y grŵp ymchwil Tecstilau Digidol.
Activity in the National Centre for Product Design & Development Research Mae gweithgaredd y Ganolfan Ymchwil Dylunio a Datblygu Cynhyrchion
(PDR) focuses on the following areas of research: Interactive prototyping of Genedlaethol (PDR) yn canolbwyntio ar y meysydd ymchwil canlynol:
computer embedded systems; Design policy; Design management, particularly in prototeipio rhyngweithiol systemau cyfrifiadurol dynodedig; polisi dylunio; rheoli
SMEs; User-centred design, Medical applications of product design technology. dylunio, yn enwedig mewn cwmnïau SME; dylunio i’r defnyddiwr; defnyddiau
The Centre has an extensive contract research portfolio and has developed over meddygol technoleg dylunio cynhyrchion. Mae portffolio ymchwil dan gontract
500 product for commercial companies and has won ten international design eang gan y Ganolfan ac mae wedi datblygu mwy na 500 o nwyddau ar gyfer
awards. PDR is one of the UK’s largest contributors to the Knowledge Transfer cwmnïau masnachol ac wedi ennill 10 gwobr ddylunio ryngwladol. PDR yw un
Partnership (KTP) scheme and has completed over 25 KTP programmes with a o gyfranwyr mwyaf y DU i’r cynllun Partneriaethau Trosglwyddo Gwybodaeth
wide range of companies. (KTP) ac mae wedi cwblhau mwy na 25 o raglenni KTP gydag ystod eang o
gwmniau.
10 University of Wales Institute, Cardiff // Research at CSAD

research at csad
centre for fine art research (cfar)
Centre for Fine Art Research (CFAR) provides a coher- research themes:
ent and ambitious programme around Fine Art research. 1. ‘Art practice as research?’: CFAR has addressed this ques-
It exists to encourage and support interdisciplinary, cross- tion in a number of meetings and is in the process of devel-
School and inter-Institutional research initiatives in a sup- oping an exhibition and conference that has this question
as its point of focus; collaborators in both aspects of the
portive environment that encourages research activity at
project are welcome and will be actively sought.
all levels. Groups and individuals within the centre have
secured over £250K and the centre is home to four Readers 2. ‘The integration of art-science-philosophy’: to explore ways
in which these three traditionally distinct areas of human
and a Professor.
knowledge and activity can be successfully integrated, and
CFAR’s research interests include painting, sculpture, how this might lead to the production of new knowledge.
printmaking, time-based and performance, new media, art
3. ‘The Post-Industrial Shorelines of South Wales’: a series of
history and aesthetics. photographic essays that establish ways in which the coast
of South Wales manifests a post-industrial and new leisure
contact: ccazeaux@uwic.ac.uk, economy; this is at the pilot project stage, and is intended
http://csad.uwic.ac.uk/cfar/ to draw in other researchers across the region.

Saturday C Landscape

sensory design: reactive colours digit


Sensory Design: Reactive Colours researchers explore potential projects/themes: aims
the potential of technologies, from traditional everyday 1. Research, recreation and rehabilitation: We are inter- To research the ways traditional methods of making in tex-
desktop interfaces to bespoke, custom-made prototypes ested in applied research that uncovers new thinking tiles may interface with digital textile practices; to analyse
using found objects, to foster inclusivity and playfulness on the playful, phenomenological and kinesthetic pos- the impact this has upon creativity and innovation; and to
among young people for all ages with and without devel- sibilities for interaction design; our goal is to empower disseminate the findings widely to the field.
opmental delays. The research that underpins our work end users to enact and express themselves without fear
is drawn from interests and practical experience in anima- or judgment. objectives
tion, phenomenology, human-computer interaction, wear- 2. Ethical participatory design: We are concerned with 1. To exhibit relevant research to launch CSAD Textile
able technologies and interface aesthetics. The successful the evolution of imaginative and ethical relationships Research Group.
application of the theories and concepts that inform our between designer and user throughout a project life- 2. To foster and develop collaborations with other insti-
research has evolved through an agile process of partici- cycle, including the design of techniques for transfer- tutes, nationally and internationally.
patory design, implemented throughout the design and ring findings of user studies to other designers and 3. To analytically review traditional textile design tech-
development lifecycle. team members (communication) and opportunities niques.
Inspiration for our work has been drawn from the oppor- to discover novel and practical models for translating 4. To investigate traditional and contemporary digital
tunity to collaborate directly with children and those who design ideas into a form that can encourage further techniques.
support them, through partnerships with Autism Cymru, user participation (ideation) 5. Explore the boundaries of relevant digital technolo-
the Dyscovery Centre and Ysgolian Muddian Meithrin. gies, recording associated hand, machine and CAD/
The findings from our work have been presented and pub- contact: wkbright@uwic.ac.uk CAM experimentation.
lished internationally. The most successful outcome to date 6. Produce collection of textile artwork for exhibition.
has been ReacTickles, a software application aimed at chil- 7. To communicate and publish current and future
dren on the autism spectrum. research developments.

contact: kcanavan@uwic.ac.uk
University of Wales Institute, Cardiff // Research Active Staff 11
centre for research in ceramics (crc)
The relationship between ceramics and sculpture is an important research theme at Cardiff,
as developed by Dr Jeffrey Jones, currently a Research Fellow at the Henry Moore Institute,
Leeds. An exhibition at the HMI beginning September 2010 brings to fruition one strand
of the project and the research continues through the work of a doctoral student.
The recording of ceramics through film and video, and colour in ceramics are other
key research interests which are being pursued at PhD level, with the research facilitated
through fully funded bursary awards.
Researchers at Cardiff work collaboratively with the Ceramic Collection and Archive
at Aberystwyth University under the aegis of The National Centre for Ceramics in Wales.
Staff have been jointly involved in research projects such as the organisation of conferences
and the electronic publication of research material online through the journal Interpreting
Ceramics. Joint supervision schemes for PhD students are being piloted.

current and potential research projects:


1. Ceramics and Sculpture: identifying and clarifying relationships between the respective disci-
plines in terms of recent history, contemporary art and curatorial practice.
2. Recording and interpreting contemporary ceramics practice: exploring appropriate and effec-
tive methods of documenting and analyzing artists’ practice in the medium of ceramics, and
communicating results and findings. 5. Ceramics Education: development of strategies, structures and methods for
doctoral and postdoctoral research where elements of creative practice are fore-
3. Kilns and firing: identifying and interpreting the activity of kiln building and firing across a grounded.
range of cultural, historical and contemporary examples.
4. Colour and tone in ceramics: investigating the ways that the perceptual and illusory proper-
ties of colour and tone can be understood, manipulated and exploited in the creation of contact: jcjones@uwic.ac.uk
ceramic artworks.

meat
MeAT research is lead by a philosophical discourse centred research themes:
about embodied interaction. We imagine and make theo- M : Metaphysics A : Aesthetics
retical and practical experiments that explore how technol- We are concerned to use design to explore the nature of being Our design exploration resides in the axiological anticipation
ogy is enacted as a component of the soma. We also develop in the world, of consciousness and the aesthetic of being. We and analysis of the creative potential of human interventions in
understand this exploration to be a contemporary form of the world. We seek, by means of design, to extend, refine and
strategies for the implementation of enactive technologies
natural philosophy, respecting the tenets of scientific rationalism redefine these interventions in a manner that has resonance with
and collaborate in our research with Transtechnology : while seeking to reclaim some of the rapturous potential of the the poetic trajectory of our species.
University of Plymouth. pre-scientific mind. T : Technology
We believe that too much interaction design research
e : embodiment We are concerned to use design to explore the potentials of a
has taken a philosophical and theoretical stance that analy- We hold that the soma (in its widest terms) can be most produc- fluid understanding of technology as both a paradigm and as
ses digitally driven systems by means of a rather narrow tively understood by designers in terms of a contingent and gen- an instance. Through design we believe we can seek a means
understanding of sociological or psychological determi- erative territory that simultaneously transcends and incorporates of affording and facilitating a creative, sustainable and poetic
nants. MeAT’s approach is to seek a revisionist metade- the organic and inorganic in a poetic interplay. aesthetic of being through technological means.
sign that is sufficiently subtle in its terms to engage with
the complexity of future discussions of the distributed and
enacted human. contact: asmorgan@uwic.ac.uk

research active staff


centre for fine art research (cfar) rona lee Conceptually and thematically I am especially inter- professor andre stitt Born in Belfast, N. Ireland, Stitt is con-
ested in the possibilities offered buy the ‘fluid’ (shifting and inde- sidered one of Europe’s foremost performance and interdisciplin-
dr clive cazeaux My research lies in three areas: metaphor in terminate ) to ‘dissolve’ such binary oppositions as dark and ary artists. He has worked as an experimental artist since 1976
aesthetics and the theory of knowledge; the relation between art light, order and chaos, known and uncertain. creating hundreds of unique works at major galleries, festivals,
and knowledge, and between art and science; ecological aesthet- rlee@uwic.ac.uk www.ronalee.co.uk alternative venues and sites specific throughout the world.
ics and listening as responses to dualistic subject–object thought. astitt@uwic.ac.uk, tracegallery@aol.com, www.andrestitt.com,
ccazeaux@uwic.ac.uk 029 2041 6680 dr robert pepperell. Robert Pepperell is researching the 029 2041 6616
relationship between art, science and philosophy, and how art can
dr jonathan clarkson Clarkson’s research interests include help us to understand the nature of human consciousness. richard waring Still life now, can it be relevant to the contem-
John Constable, the history of landscape painting, psychoanalysis rpepperell@uwic.ac.uk http://www.robertpepperell.com porary painter? rwaring@uwic.ac.uk, 029 2041 6689,
and theories of representation. jclarkson@uwic.ac.uk 029 2041 6622 07754 966373
029 2041 6664
simon pope’s research interest lies in the ways that being-to- other cfar members include:
david ferry Research: British Modernism/ Jo Orton/ and pho- gether can be explored through walking together and how this Malcom Bennett, Nigel Bowles, Dallas Collins, Richard Cox,
tomontage. dferry@uwic.ac.uk / daviddferry@hotmail.com 029 might provide new insights into engagements with ‘landscape’. Annie Giles-Hobbs, Mark Halliday, Sue Hunt, Cecile Johnson-
2041 6686 / 07876407266 SPope@uwic.ac.uk, si.pope@gmail.com, 029 2041 6666 Soliz, Allan Jones, Dafydd Jones, Julian Kelly, Chris Lloyd, Luke
Mintow-Czyz, Philip Nicol, Neil Pedder, Cherry Pickles, Louise
stewart geddes A Settlement Between the Pastoral Landscape dr chris short There are two principal strands to my research: Short, Nigel Williams
Tradition and an Urban Centric World: Peter Lanyon’s late ‘Clev- the art theory and practice of Wassily Kandinsky, and a photo-
edon Suite’ of paintings. stewart@stewartgeddes.com 029 2041 graphic quest to uncover ‘the order of things’; these two strands
6658 / 07985 440324 are interconnected. cshort@uwic.ac.uk, 029 2041 6967

paul granjon researches aspects of the co-evolution of humans


and machines through a visual art practice based on performance
and robotics. pgranjon@uwic.ac.uk 029 2041 6624
12 University of Wales Institute, Cardiff // Research Active Staff

digit tim taylor Tim will be commencing in February 2010 to reactive colours
work on the ESF funded KESS PhD project in collaboration
dr keireine canavan Specialising in the oral history of declin- with United Welsh, entitled ‘A study to monitor the relationship wendy keay-bright The Design of Sensory Technologies for
ing tribal textile skills, to record and document fading memories between fabric, building quality and thermal performance, to children with learning difficulties and/or motor impairments.
and to preserve traditional weaving methods, symbolic patterns determine whether low carbon design translates into low carbon wkbright@uwic.ac.uk, wkeaybright@mac.com, 029 2041
and designs with Kuwaiti Bedouin AlSadu weavers, Patola Ikat construction‘; research Interests: design, construction and use of 6609/6633, 07803181488, Skype:wkeaybright
weavers of Gujarat India, and Iban Dayaks Warp Ikat weavers in buildings and their intersection with the broader context of sus-
Borneo Malaysia; messaging tribal lifestyle, their environment, tainable development. steve didcote “Wii Learn and Play” is the title of the work I
and the emphasis of symmetry, in order to reintroduce skills and have undertaken to investigate how everyday technologies can
cultural awareness, educate the modern generations within fast stephen sullivan Stephen will be commencing in March 2010 be utilised further to provide learning opportunities, through
developing societies, and to prevent further loss. to work on the ESF funded KESS PhD project in collaboration play, for pre-school children. My focus within this work has been
kcanavan@uwic.ac.uk, http://www.alsaduweaving.wordpress. with United Welsh, entitled ‘A study to evaluate best practice for looking at the direct understanding of how children interact with
com, kcanavan@uwic.ac.uk, 0292 041 6634/7, +965 6609 5290 dwelling sustainability and to develop and test design and con- new technologies and devices, practically that of Wii remote and
struction templates for dwellings to meet level 4 and 5 of the code mobile phones. didstudios@googlemail.com, 0785 2255 082,
dr povl larsen Larsen’s research interest is in art & crafts and for sustainable homes for social housing providers in Wales’; Skype: StephenDid
the use of digital design technologies, such as, rapid prototyping, research interests: environmental architecture
Computer Aided Design & Manufacture, Computer Numerical adam martin researches and develops novel human-computer
Control (CNC) machines, eCommerce, eMarketing, mass-cust- interfaces using mobile devices, electronic sensors, augmented
omisation, etc. PLarsen-pdr@uwic.ac.uk, 029 2041 6778 meat reality, location based systems and wearable technologies.
adam.martin@newport.ac.uk, 01633 432922
dr. helen long’s current area of research interest is the build- dr ashley morgan’s research interests are in phenomenologi-
ing, decorating and furnishing of the 19th century house, includ- cal understanding of embodiment and identity, in particular, pain, fakri othman How Rotoscopy technique can contribute to
ing themes such as hand and machine processes, style and orna- and risk to the body, in addition to exploring ordinary experiences teaching handwriting for children with dyspraxia.
ment, class, health and nature. hlong@uwic.ac.uk, of technology as artefact and the mundane aspects of everyday faothman@uwic.ac.uk
02920416657 uses of technology in relation to the body. asmorgan@uwic.ac.uk,
ashley@meatresearch.co.uk, 029 2041 6684
philip o’reilly’s research interest: Writing a paper on the work crc
of Josef Albers and his book ‘Inter-action of Colour, specifically dr steve thompson Design and technology philosophy:
dealing with his concepts of transparency, and linking his con- Consciousness studies and interaction design. Stephen’s research dr jeffrey jones, Reader in Ceramics. Research interests:
cepts to my recent ceramics. poreilly@uwic.ac.uk, extends his PhD thesis, (Artefacts, Technicity and Humanisation founder editor of Interpreting Ceramics electronic journal (www.
artwork.2000@uwclub.net, 0292041 6650, 020 7720 1666 : industrial design and the problem of anoetic technologies) in interpretingceramics.com) , author of Studio Pottery in Britain
his current project ‘Semiinfinitebody’ through a series of experi- 1900 – 2005 (A&C Black 2007), convenor of ‘The Fragmented
christina shannon’s research interests encompass both prac- ments that play with the idea of the human as an enaction of the Figure’ conference at Cardiff School of Art and Design (2005),
tice based research in the field of experimental design work aimed distributed techsomtic field. sthompson@uwic.ac.uk, currently Research Fellow at the Henry Moore Institute, Leeds,
at the interiors market and the continuation of an investigation stephen@meatresearch.co.uk, 029 2041 6380 and leader of the Ceramics and Sculpture project.
into French block printed textiles used as barter in the transatlan- jcjones@uwic.ac.uk, 029 2041 6607
tic slave trade. cshannon@uwic.ac.uk, 02920566962 stuart neil Education, Inclusion and the Emerging Urban Arts
sneil@uwic.ac.uk, stuart@meatresearch.co.uk, 029 2041 1548 michael hose, Principal Lecturer, mhose@uwic.ac.uk ,tel. 029
dr cathy treadaway’s research investigates the use of digital 2041 1568. Research interests: the ways the physical properties of
technology within creative practice and in particular the role of rachel eardley The question of play between deterministic ceramic materials impact upon both the making and the aesthetic
the hand and hand making within the digital process. Cathy is and non-deterministic models of technology. outcome, including the roles of colour and tone in influencing the
also Visiting Research Fellow at University of Bath, Department raeardley@uwic.ac.uk perception and reception of the resulting artworks.
of Computer Science. ctreadaway@uwic.ac.uk, 02920417014,
07816 283501 theo humphries Technology, humour, and the problem of peter castle, Course Director MA Ceramics, PCastle@uwic.
social interpretation of embodied phenomena in design. ac.uk, tel: 029 2041 6615. Research interests: investigation of the
thumphries@uwic.ac.uk, theo@meatresearch.co.uk, impact of new technologies within studio ceramics practice and
the ecological built environment 029 2041 7085 its integration into traditional methods and procedures of manu-
facturer through innovative combinations of ceramic and print
dr john littlewood, Director of EBERE. Research interests: chris glynn’s research explores the perceived boundaries of materials and processes.
focused upon an Ecological Built Environment, which has three visual and musical language via performance, drawing and nar-
foci; the ecological design, construction, assessment and evalu- rative. cglynn@uwic.ac.uk, chris@meatresearch.co.uk, 029 2041 ingrid murphy, Course Director BA Hons Ceramics,
ation of dwellings communities; architectural technology and 7085 imurphy@uwic.ac.uk , tel. 029 2041 6343. Research interests:
science; and biodiversity and the built environment. the delivery of creativity teaching in the material arts and process
jlittlewood@uwic.ac.uk, 029 2041 6676 rachel murphy is currently working on a portfolio of Jewel- based practice, combined with ongoing research on enhanced
john counsell, Head of the Department of Architectural lery, questioning technology, the Environment, the Economy and technological learning applied to the delivery of skills teaching.
Studies. Research interests: e-planning with 3D GIS & ad-hoc specifically exploring where craft skills such as Jewellery making She is also a practicing ceramic artist.
augmentation, &location aware systems; Building Information belong in a technological society.
Modelling; Architectural design and design decision support duncan ayscough, Senior Lecturer, dsyscough@uwic.ac.uk ,
systems; e-Learning; heritage and heritage recording. jon piggott’s research interests in sonic media, sonic culture tel. 029 2041 6343. Research interests lie in ceramic practice and
jcounsell@uwic.ac.uk, 029 2041 1556 and the relationship between the physical and the electro mag- material sustainability; recently, this has intensified his engage-
netic sound worlds. jpigott@uwic.ac.uk, jon@meatresearch. ment with the potters wheel, exploring the interrelationship of
tony whyman Research interests: conservation, preservation co.uk, 029 2041 6931 form and surfaces selectively exposed to carbonisation, reflecting
and enhancement of the built environment and built heritage and the values of early European ceramic cultures.
secondly, the teaching methodologies of architectural detailing. fakri othman How Rotoscopy technique can contribute to
Both are considered in the context of sustainable practices. teaching handwriting for children with dyspraxia. dr natasha mayo, Lecturer, nmayo@uwic.ac.uk . Research
twhyman@uwic.ac.uk, 029 2041 6794 faothman@uwic.ac.uk interests are focused on the subject of contemporary figurative
ceramics and creative pedagogy; her PhD investigated the ways
nick evans Research interests: sustainable design of buildings, jan bennett Scientists, monsters and other allies: hybrid becom- in which the surface and form of the human body in figurative
real-world validation of data produced by Building Information ings in contemporary art. jabennett@uwic.ac.uk ceramic sculpture can be manipulated to suggest sensations and
Modelling software and the application of Building Informa- emotions experienced in relation to flesh and skin and recent
tion Modelling for automated Building Regulations compliance research into ‘Making the Creative Process Visible – Methods
checking. nievans@uwic.ac.uk, 029 2041 6746 in Creative Pedagogy’ (HEA funded project) has led to further
research into enhanced technological learning delivery (LTDU
funded project).
University of Wales Institute, Cardiff // Research at PDR 13
claire curneen, Lecturer, ccurneen@uwic.ac.uk . Research jineui kim, PhD student, jinny_joy@hotmail.com, jikim@uwic. laura gray, PhD student, lagray@uwic.ac.uk. Research inter-
interests: as one of Europe’s major artists working with the figure ac.uk, 07737895637. Research interests: ‘I am interested in how ests: ‘My PhD is concerned with the relationship between ceram-
through the medium of ceramics, Curneen’s artworks pursue surface marks and tone manipulate perception of three-dimen- ics and sculpture within the contexts of creating, collecting and
themes of selfless sacrifice, transcendence, purpose and platonic sional ceramic form.’ displaying. There is a focus is on contemporary practice in my
love. research, and I am specifically interested in the ‘sculptural’ quali-
leah mclaughlin, PhD student, lemclaughlin@uwic.ac.uk, ties present in ceramics that use traditional vessel forms.’
sara moorhouse, PhD student, samoorhouse@uwic.ac.uk, 029 2041 6667. Research interests: ‘My PhD investigates how the
Saramoorhouse@hotmail.com, 07793 880246. Research inter- moving-image can reveal the interaction between ceramicist and
ests: the ways in which arrangements of colour interact and manip- material. I contributed to the conference Showing Making; Rep-
ulate spatial perception of three-dimensional ceramic forms. resentations of Image Making in Art Ritual and Science, Amster-
dam, filmmuseum 2009’.
alison graham, PhD student, algraham@uwic.ac.uk . Research
interests: ‘My research is concerned with the creation of illusory
depth and movement on the surface of ceramic artworks, through
the manipulation and juxtaposition of colour and glaze’.

research at pdr
the national centre for product design research (pdr)
The National Centre for Product Design & Development The centre’s research team is made up of senior and As a result PDR has gained an enviable reputation for
Research (PDR) is a multidisciplinary centre for product junior researchers, research assistants and research stu- the development and transfer of design knowledge and
design and development. The award winning centre offers dents. The focus of this team is on research which reflects expertise into industry. This is evidenced by the number
a complete service to industry from research and analysis the strategic importance of the creative application of of products produced (over 350) for a wide range of clients
through to design, prototyping, manufacture and launch. design and the design process in the development of new to include consumer products, automotive, medical and
products, systems and methodologies. defence.

research active staff


darragh murphy Research interests: design management, the dr povl larsen Research interests: digital design technolo-
development of design management tools; from strategy identi- gies in the arts and crafts sector, online mass customisation of
fication and implementation to capability measurement, trans- products in micro companies, embedding digital technologies in
ferring design management models to new rapid manufacturing crafts. plarsen-pdr@uwic.ac.uk
applications. dmurphy-pdr@uwic.ac.uk
roger moss Research interests: Applications of digital design
dr andy walters Research interests: user centred design, the technologies in art practice. rmoss-pdr@uwic.ac.uk
application of user centred design in SMEs.
awalters-pdr@uwic.ac.uk

dr dominic eggbeer Research interests: The application of


digital technologies, art and design techniques in patient-specific
medical devices. The application of art and design techniques in
the creation of more lifelike extra-oral, body prosthetics.
14 National Library of Wales

National
Library of
Wales
Its founding document, the Royal Charter (1907, revised 2006), Mae’r ddogfen a sefydlodd y Llyfrgell, Y Siarter Frenhinol (1907,
specifies that the key beneficiaries of the National Library should be diwygiwyd yn 2006) yn datgan fod y Llyfrgell Genedlaethol yn bodoli
those ‘engaged in research and learning’. er budd y cyhoedd, gan gynnwys ‘y rhai sy’n ymroi i ymchwil a dysg’.

The Library has a long history of serving the needs of researchers in Mae gan y Llyfrgell hanes maith o wasanaethu anghenion ymchwilwyr
higher education institutions in Wales, most obviously by making its yn sefydliadau addysg uwch Cymru, yn fwyaf amlwg drwy sicrhau
collections and expertise available to those pursuing their individual fod ei chasgliadau a’i gwybodaeth arbenigol ar gael i’r rheini sydd ar
interests. An excellent example is Peter Lord, whose monumental drywydd eu diddordebau unigol. Enghraifft ardderchog yw Peter
trilogy The Visual Culture of Wales (1998-2002) depended critically Lord, yr oedd ei drioleg anferthol, Diwylliant Gweledol Cymru (1998-
on his pioneering exploration of the Library’s extensive graphic 2002) yn dibynnu i raddau hollbwysig ar ei waith arloesol yn archwilio
collections. casgliadau graffig helaeth y Llyfrgell.

In recent years the Library has taken a more active role by cooperating Yn y blynyddoedd diwethaf, cymerodd ran fwy gweithredol trwy
with universities in joint programmes and projects that typically gydweithredu â phrifysgolion mewn rhaglenni a phrojectau ar y
develop specific collections within the Library for research use. cyd sydd fel rheol yn datblygu casgliadau penodol yn y Llyfrgell at
ddefnydd ymchwil.
National Library of Wales // Research Projects 15
research projects
1. ‘The Hengwrt Chaucer’, with Sheffield and De Mont- The Library is always open to discussing possible projects Later in 2010 the Library will appoint the new Univer-
fort Universities with higher education institutions in Wales. It already has sity of Wales Chair in Digital Collections, probably the first
http://www.sd-editions.com/hengwrt/ broad agreements with WIRAD and IMEMS (Aberystw- academic Chair in any national library in the world. The
2. ‘Imaging the Bible in Wales’ with the University of yth and Bangor) and is currently developing a Memoran- post-holder will produce academic research and also work
Wales Lampeter and others dum of Understanding with Aberystwyth University. that will benefit the Library and its users in any aspect of
http://www.imagingthebible.org/wales/ Often a distinctive contribution of the Library is to the generation, care and preservation of digital collections
3. ‘The cartoons of Leslie Illingworth’, with the Univer- create digital copies or other resources from the analogue in the humanities. S/he will be required to attract addi-
sity of Kent originals in its collections. Its digitisation facilities are tional research resources and to this end the Library wel-
http://www.llgc.org.uk/illingworth/index_s.htm among the best in the UK and serve the Library’s internal comes suggestions for projects from any higher education
4. ‘The poems of Dafydd ap Gwilym’, with Swansea programme as well as externally funded projects, the largest institution in Wales.
University http://www.dafyddapgwilym.net/ of which aims to digitise millions of pages of nineteenth
5. ‘Seals in medieval Wales’, with Aberystwyth Univer- century newspapers and journals in Wales. contact: Andrew Green, Librarian, National Library of
sity The other main asset the Library brings to joint proj- Wales, Aberystwyth, Ceredigion SY23 3BU
http://www.aber.ac.uk/~hstwww/research/simew. ects with academic partners is the knowledge and skills of 01970 632805, andrew.green@llgc.org.uk
html its staff: experts on, among other things, medieval manu-
6. ‘The poetry of Guto’r Glyn’, with the Centre for scripts, art history in Wales, digitisation techniques, pho-
Advanced Welsh and Celtic Studies http://www. tography, conservation, film history, archives, maps and
wales.ac.uk/en/CentreforAdvancedWelshCelticStud- book history. Many have published widely in their fields.
ies/ResearchProjects/CurrentProjects/Poetryof-
GutorGlyn/IntroductiontotheProject.aspx

Above Left:
John Ingleby,
Berse Chapel,
Watercolour, 1794

Above Right:
John Ingleby,
Conway from
above the Ferry,
Watercolour, 1795

Right: Richard Calvert


Jones, Margam Castle,
Daguerreotype, 1841
16 Aberystwyth University

Aberystwyth
University
School of Art
Research at the School of Art falls into two areas: fine art practice Mae ymchwil yn yr Ysgol Gelf yn ymrannu’n ddau faes: arfer celfyddyd
(painting, photography, printmaking, illustration, contemporary gain (peintio, ffotograffiaeth, gwneud printiau, darlunio, lluniadu
drawing, multi- and time-based media) and the study of art and visual cyfoes, aml-gyfryngau a chyfryngau’n seiliedig ar amser) ac astudio
culture and its presentation. We are committed to research in art, its celf a diwylliant gweledol a’i chyflwyniad. Mae gennym ymrwymiad i
histories and practices, in both international and national dimensions. waith ymchwil mewn celf, ei hanes a’i harferion, ar lefelau rhyngwladol
Our researchers contribute to innovative interdisciplinary fields - such a chenedlaethol. Mae ein hymchwilwyr yn cyfrannu i feysydd
as art and material culture, art and gender studies, and art and religion - rhyngddisgyblaethol arloesol – fel celf a diwylliant materol, celf ac
within collaborative, national and international contexts. astudiaethau rhywedd, a chelf a chrefydd – o fewn cyd-destunau
cydweithrediadol, cenedlaethol a rhyngwladol.
In Fine Art, our staff undertake practice-led research in: traditional
and contemporary techniques of printmaking, painting, photography, Mewn Celfyddyd Gain, bydd ein staff yn ymgymryd â gwaith ymchwil
illustration and the book arts, and their histories; digital, traditional sy’n canolbwyntio ar arfer mewn: technegau traddodiadol a chyfoes
and alternative photographic and printmaking processes; figurative gwneud printiau, peintio, ffotograffiaeth, darlunio a chelfyddydau’r
painting; contemporary drawing practice. llyfr, a hanes y rhain; prosesau ffotograffig a gwneud printiau digidol,
traddodiadol ac amgen; peintio ffigur; arfer lluniadu cyfoes.
In Art History, we are concerned with:19th- and 20th-century
European art, especially British; the visual culture of Wales, Welsh Yn Hanes Celfyddyd, rydym yn ymddiddori yn y canlynol: celf
art and craft, collecting and curatorial practices; British printmaking Ewropeaidd y 19eg a’r 20fed ganrif, yn enwedig celf Brydeinig;
and the illustrated book; Australian art; the visual culture of religions; diwylliant gweledol Cymru, celf a chrefft Cymru, arferion casglu a
women’s art, craft and design; 20th-century British and world ceramics. churadurol; printwneuthurwyr Prydeinig a’r llyfr darluniadol; celf
Awstralia; celf weledol crefyddau; celf, crefft a dylunio menywod;
cerameg yr 20fed ganrif ym Mhrydain a’r byd.
Aberystwyth University // Research Groups 17
research groups
school of art museum
The collections of the School of Art Museum provide a focus private press books. In addition to the George Powell Col-
for a funded research centre, projects and postgraduate lection of pictures, bronzes and objet d’art bequeathed in
study. Staff disseminate their research through the curation 1882, there are over 5,000 wood engravings for periodicals
of touring exhibitions, the publication of books, catalogues of the 1860s and a fine collection of prints representing the
and articles, the delivery of public lectures, and through Etching Revival from Whistler to the inter-war years. Other
project- or field-dedicated websites and online databases. significant areas of interest include art in Wales since 1945,
Much of the research involves original investigation leading contemporary British printmaking, Welsh photography
to new knowledge and improved insights into the collec- and an outstanding collection of 20th-century Italian pho-
tions. The Museum holds over 20,000 examples of fine tographs. Mindful of their research potential, the Museum
and decorative art. At the core of the fine art collection are acquires significant bodies of original artworks and archive
our holdings of European prints from the 15th century to material representative of individual artist’s careers.
the present day, drawings, watercolours, photographs and

contact: Robert Meyrick, rtm@aber.ac.uk

centre for studies in the visual culture of religion (csvcr)


The Centre has been established to study the visual culture
of religion. This is a relatively recent and a pioneering aca-
demic field. It aims to study those aspects of the material,
phenomenal, and transcendental expressions of religions
that are apprehensible by ‘sight’ (in both the perceptual and A Lombok potter,
imaginal sense). This is with a view to developing a fuller Bali Island
knowledge and understanding of the visual traditions of
specific systems of faith, as well as (eventually) a holistic ceramic collection
and unified conception of religious visuality within a global
and multi-faith context.
& archive
A religious culture’s visible attributes are as much a Originally based on the early records of the Craft Potters’
repository and articulation of thought, identity, values, Association of Great Britain, the Ceramic Archive now
ideals, and priorities as are its textual, oral, and auditory collects print, audio, video and electronic documentation
representations. The study of these attributes is, therefore, relating to contemporary and studio ceramics. The Ceram-
indispensable to a full-orbed appreciation of religious life ics Collection comprises contemporary British, European,
and belief. Because the visual and other expressions of American, and Japanese studio pottery, 18th & 19th century
religious culture are interdependent, research takes place Welsh and English slipware, Swansea and Nantgarw porce-
within a matrix of relevant disciplines, and involves a lain, Art Pottery and Oriental ceramics. The strength is its
pooling and an exchange of scholarly methods. The sub- internationally renowned holdings of early 20th century
stance of study comprises traditional high- and applied-art British pioneer studio pottery.
mediums, as well as low-art forms, ephemera, media, and
immaterial manifestations of the religious imagination, contact: Moira Vincentelli, mov@aber.ac.uk
produced by a diversity of orthodox, heterodox, main-
stream, and marginal religious groups, past and present.

contact: Professor John Harvey, jh@aber.ac.uk Daniel in the Lion’s Den, lithograph by Butterworth
& Heath after a painting by E N Downard, 1862

Left to Right:
John Harvey, Graven Image (The Second Commandment),
encoded voice, guitar, and devices, 2009

Australians in Britain: the twentieth-century experience,


Monash University ePress, 2009
John Harvey, The First Day (Genesis 5.1-5), oil on board, 2007
18 Aberystwyth University // Research Active Staff

research active staff


moira vincentelli Senior Lecturer in Art History and miranda whall, Lecturer in Fine Art. mpw@aber.ac.uk sia and research projects, uniting art historical and biblical studies
Curator of Ceramics. mov@aber.ac.uk
 www.mirandawhall.com with the co-operation of the Department of Theology and Studies
Women and Ceramics: Gendered Vessels (MUP, 2000) and Women An early career researcher, Whall has developed a distinctive, at Lampeter.
Potters: Transforming Traditions (A&C Black, 2003), as well as dynamic, and provocative interdisciplinary visual and audio In art practice, his work explores non-iconic attitudes to reli-
her work developing the Ceramics Collection and Archive, have response to issues, taboos and expectations surrounding female gious art through an engagement with visual and textual sources,
established Vincentelli at the forefront of contemporary studies identity and expression within social, political, cultural, animal theological and cultural ideas, and systemic processes. The work,
in ceramics. External research collaborations are key to her work. and natural environments by creating humorous and unlikely exhibited in the UK and USA, is discussed in The Pictorial Bible
Through a symposium in 2007 and an exhibition in 2008 at Carel- scenarios between herself and other things, explored in ironic series publications (National Library of Wales, 2000; School of
ton College and Northern Clay Centre, Minneapolis, Vincentelli relation to art-historical, technological, pastoral, and Romantic Art, 2007). Presently, he is co-authoring The Bible as Art, and
has developed an international network of scholars writing about imagery. extending his investigation of textual-visual relationships in con-
traditional ceramics and their transformations and adaptations in Miranda Whall gained her MA in Fine Art from the Royal junction with sound, in the context of The Pictorial Bible III: Trans-
the contemporary world. She has curated several national touring Academy Schools in 1996. She has exhibited widely; her exhibi- figurations. His research supervision covers: the visual culture
exhibitions of ceramics including Sankofa: Ceramic Tales from tions have been staged at the BALTIC Centre for Contemporary of religion; image and text; religion and photography; religious
Africa (2006) and Body Works: Figurative Ceramics (2005), and Art, Gateshead, Schuster Gallery, Berlin, Courtauld Institute of architecture; contemporary art, art in Wales, and the practice of
regularly develops exhibitions, websites and educational proj- Art, London, Contemporary Art Society, London, Gimpel Fils painting and drawing.
ects in relation to the Ceramic Collection and Archive, some of gallery, London and Glasgow International Festival in solo, two
which draw on postgraduate projects and research. Vincentelli is person and group shows, comprise works that combine conven- robert meyrick Head of School of Art and Keeper of Art
a founding member of the Interpreting Ceramics Research Col- tional media with time-based, mixed- and digital format media. rtm@aber.ac.uk, www.robertmeyrick.co.uk
laboration (with UWIC, Bath Spa and UWE), which organizes She was Arts Council England, North East Artist in Resi- Robert Meyrick trained in fine art and art history and now writes
conferences and exhibitions and publishes the electronic journal dence in Berlin and Wheatley Bequest Fellow at BIAD. Whall’s on the history of printmaking, art and visual culture of Wales,
Interpreting Ceramics. She is on the Editorial Board of Interpreting digital lace drawings have been exhibited in the Jerwood Drawing 20th-century British art, and collecting practice. This is reflected
Ceramics, has edited Issue 10 (2008) on World Ceramics and is a Prize competition and Pizza Express Drawing Prize and featured in his contribution to teaching at Aberystwyth and in his develop-
long-serving Member of the Organising Committee of the Inter- in international contemporary drawing exhibitions: The Square ment of the University’s art collections. In 2001 he was invited to
national Ceramics Festival. Following an AHRC-funded project Root of Drawing at Temple Bar Gallery, Dublin, and Salon 2007 become an Honorary Fellow of the Royal Society of Painter-Print-
she is currently preparing a book on Ceramics in Wales, a Gendered New British Painting and Works on Paper, curated by Flora Fair- makers in ‘recognition of his services to the art of printmaking in
Perspective. burn, London. Whall was one of ten artists representing the UK Britain’. He has curated national touring exhibitions and written
in the 2008 international Kaunas Art Biennial and Textile 07 accompanying publications for leading provincial museums and
paul croft Lecturer in Fine Art (Printmaking). Unpicked and Dismantled at the M. K. Ciurlionis National Art private art galleries in the UK.
puc@aber.ac.uk, www.paulcroft.org Museum, Lithuania. Meyrick is regularly invited to contribute chapters for books
Paul Croft trained in Fine Art, specialising in drawing, painting Her work has been included in exhibitions curated by distin- and catalogues, among them ‘Beyond Impressionism’ (2006) and
and printmaking. Since qualifying as Master Printer from the guished curators of contemporary art such as Soriya Rodriquez, ‘Wealth Wise and Culture Kind’ (2007) for National Museum
Tamarind Institute of Lithography in 1996, his research and prac- curator of Zoo Contemporary Art Fair (Write–On Right–Off), Wales, ‘In Pursuit of Arcadia’ for Pallant House, Chichester
tice as an artist, educator, printmaker and collaborating printer Irene Bradbury from the White Cube, and J. J. Charlesworth (2007), ‘Little Englandism’ in Ancient Landscapes, Pastoral Visions
has culminated in the publication of two books on Stone Lithogra- in Jake Chapman’s house and gallery. The Animal Gaze, a major for Southampton Art Gallery, and ‘Edgar Holloway’s American
phy and Plate Lithography (UK: A&C Black, 2001 & 2003; USA: exhibition of international artists curated by Rosemarie Goldrick, Etchings’ for the Rensselaer County Historical Society, New
Watson-Guptill, 2003; China: JML Fine Art Press, 2003). toured to the Centre for Contemporary Art and the Natural York (2008). He was advisor-contributor-author for the National
In 2007 he curated Stone-Plate-Grease-Water, an exhibition World, and Plymouth City Museum and Gallery. Her animation Museum Wales centenary exhibition, Industry to Impressionism
of international contemporary lithography, an AHRC-funded work has recently been published by Filmarmalade launched at (2007). His monographs include The Etchings and Engravings of
research project that has made a significant contribution to the Bfi and distributed through ICA and the Bfi. Edgar Holloway (1996) and John Elwyn (Ashgate, 2000).
understanding of the nature and diversity of current lithographic Recent video projects include: Marine Dialogues, a series of Since 1998 he has served on the Editorial Board of Gregy-
practice. The show included 90 prints by 64 artists from the UK, 5 videos, underwater conversations with marine creatures, a col- nog Press and is advisor in the compilation of The Dictionary of
Ireland, USA, Canada, Australia, Argentina and Jordan, and was laboration with Dr Helen Marshall and Dr Rupert Marshall of Welsh Biography 1971-2000. As his Catalogue Raisonné of Prints
accompanied by a catalogue and website (www.spgw.co.uk). IBERS; Mother/Fucker, a video Triptych, digital manipulation of by Joseph Webb nears completion, he is soon to research and
Integration of studio-based research – primarily concerned with Gustave Courbet’s painting, L’Origin de Monde. She is currently curate a major retrospective exhibition of paintings by Christo-
lithographic practice and collaboration – into the pedagogical working on an Arts Council funded project ‘A Love Poem’, an pher Williams (1873-1934) for the National Library of Wales and
environment is seen as an important aspect of student educa- underwater journey also in collaboration with the Drs Marshall National Museum Wales (2011). Other ongoing projects include
tion. Recent collaborations with visiting artists including David and foreign language speakers and translators. Future projects are a book chapter for Victorian Illustration (Ashgate, 2010), The Arts
Tress, Shani Rhys James, Stuart Pearson Wright, Marcelle Han- Conversations with Mothers, a series of films in conversation with and Crafts Print (Antique Collectors’ Club) and accompanying
selaar and Wuon Gean Ho have made a considerable impact and creatures who have interesting motherhoods, and Glow Worms, touring exhibition, and catalogues raisonné of prints by William
contribution to the teaching environment. Similarly continuing Spiders etc, in collaboration with Dr’s Marshall and others. Teach- E C Morgan (1903-1979) and Sydney Lee RA RE RWS (1866-
research into the interfacing techniques of stone lithography and ing and research supervision covers contemporary interdisciplin- 1949). Teaching and research supervision covers Fine Art (illus-
computer-generated drawing is encouraging interaction between ary fine art, with interests in new media, site specificity, relational tration and printmaking) and Art History (20th-century British
traditional and digital areas. aesthetics, dialogical art and female representation. printmaking, book illustration, the private presses, art in Wales,
As an Associate Fellow (2005) and Fellow (2007) of the 19th- and 20th- century British Art, collecting practice, and mate-
Royal Society of Painter-Printmakers, and Chairman of Aberystw- john harvey Professor of Art, jhh@aber.ac.uk rial held in the School of Art collections).
yth Printmakers, Croft has formed an international network of http://users.aber.ac.uk/jhh/
artists, print workshops and educational institutions with the aim John Harvey is an historian of art and visual culture and practi-
of increasing the profile of lithography and attracting collaborat- tioner and theoretician in Fine Art. His research field is the visual
ing artists to the School of Art. He has contributed several articles culture of religion. His art-historical studies have engaged the
to Printmaking Today and his work appears in several books on visual imagery of popular piety, supernaturalist traditions, and
printmaking, including Tamarind 40 Years (UNM, 2000), Collect- working-class culture. He has written several books including
ing Original Prints (A&C Black, 2005), Printmakers Secrets (A&C Photography & Spirit (2007); The Appearance of Evil: Apparitions
Black, 2009), and Contemporary Printmaking (2009). Recent of Spirits in Wales (2003); Image of the Invisible: The Visualization
exhibitions include Contemporary Welsh Printmakers (Lahore of Religion in the Welsh Nonconformist Tradition (1999); and The
and Karachi, 2007), The Prints of Wales (Kansas, 2007), and Art of Piety: The Visual Culture of Welsh Nonconformity (1995).
two international portfolio exchanges at The Southern Graphic Harvey has also contributed chapters and articles to books and
Conference in Richmond, USA (2008). In 2008 he was invited journals including ‘The Agony in the Garden’ (Paternoster, 2009),
by Gregynog Press to illustrate Welsh Times celebrating the work ‘Visual Typology and Pentecostal Theology’ in Imaging the Bible
of author Emyr Humphreys. Teaching and research supervision (SPCK, 2008) and ‘Seen to be Remembered’ in Journal of Design
covers Fine Art (printmaking) and Art History (history of lithog- History (2004). He has delivered scholarly papers at conferences
raphy). held in the Europe and USA. Since 2005, he has initiated sympo-
Aberystwyth University // Research Active Staff 19

colin cruise Research Lecturer. coc@aber.ac.uk chris webster Lecturer in Fine Art (Photography) simon pierse Lecturer in Fine Art (Painting)
Before starting an academic career in Victorian Studies, Cruise cpw@aber.ac.uk spw@aber.ac.uk, www.simonpierse.co.uk
studied Fine Art, specialising in printmaking and painting. His Christopher Webster studied art and art history as an undergradu- A painter and art historian, Simon Pierse has published inter-
PhD thesis concerns English Literature of the 1890s in relation ate and postgraduate in South Africa. As a fine art photographer he nationally. His articles on Sidney Nolan in Wales, the 1961
to religion, art, and gender. He has published widely on aspects of has staged numerous solo and group exhibitions internationally; Whitechapel Art Gallery exhibition Recent Australian Painting,
Victorian culture, including ‘Versions of the Annunciation’ (After most recently, Cipher toured the UK, Ireland and South Africa. paintings of 
Uluru by Lloyd Rees and Michael Andrews, and
the Pre-Raphaelites (MUP 1999); ‘Baron Corvo and the Key to the He has staged solo exhibitions in the USA (2002, 2003), the UK Antony Gormley’s Inside Australia installation in Western 
Aus-
Underworld’ in The Victorian Supernatural (CUP 2003); and ‘Sin- (1998, 1999, 2001, 2005, 2006), South Africa (1993, 1998), and tralia, have appeared in Art & Australia, the Melbourne Art Journal,
cerity and Earnestness: Rossetti’s Early Exhibitions’ in Burlington the Netherlands (2000). He has written book chapters for The and Australian Studies. He is currently writing a book on exhibi-
Magazine ( January 2004). He contributed three entries on Victo- Initiated Artist (Amsterdam UP, 2008), Esotericism, Art and Imagi- tions of Australian art in London, 1953-65.
rian artists to the Dictionary of National Biography. Forthcoming nation (MSU, 2008) and contributed to The Nineteenth Century In 2000-1, he was awarded a Sir Robert Menzies Bicenten-
publications include essays on Pater (for Macmillan), on Simeon Encyclopaedia of Photography (Routledge, 2007). nial Fellowship and was based at La Trobe University, Melbourne.
Solomon (for Ashgate) and on drawing for The Cambridge Com- A member of the Association of Studies in Esotericism and the He is a member of the British Australian Studies Association and
panion to Pre-Raphaelitism. European Society for the Study of Western Esotericism, Webster regularly visits Australia, most recently in 2007-8 on a five month
Cruise curated the major exhibition Love Revealed: Simeon serves on the editorial boards of Consciousness, Literature and the residency to Dunmoochin, home of Australian artist Clifton
Solomon and the Pre-Raphaelites (2005-6) – which toured Villa Arts and the South African Journal of Photography. As evidenced Pugh (1924-1990). Pierse is also involved in the organization and
Stuck, Munich, and the Ben-Uri Gallery, London – and organised by international exhibitions and conference papers, he contin- curation of exhibitions: either touring exhibitions, such as Terra
the accompanying conference for the National Portrait Gallery, ues to develop, with his PhD and Masters students, alternative Incognita, an Arts Council funded exhibition of contemporary art
London (2006), and the symposium at Yale BAC (2006). The approaches to photographic practices (both chemically and con- about the Australian landscape, or exhibitions designed for the
exhibition catalogue was published by Merrell in 2005. ceptually). His most recent practice is centred on the production School of Art Galleries, such as Sidney Nolan: A Personal View,
Cruise is a Fellow of the Royal Society of Arts; Member of of short 16mm films using stop-motion animation and manipula- staged in collaboration with the Sidney Nolan Trust.
the AHRC Peer Review College (since 2007); Member of the tion of the film surface. His short film Pearl (2008) was shown by With the support of the AHRC and collaboration of the
AHRC Postgraduate Panel (since 2008); and served as Chair of Outcasting, a Cardiff-based moving-image gallery. He is currently Alpine Club, London, the Royal Geographical Society, Fondazi-
the Association of Art Historians (2004-07). He is a member of working on new films toward a solo exhibition in 2009. one Sella, Biella, and the Roerich Museum, New York, he curated
the academic advisory panel for a major JISC-funded project to Teaching and research supervision covers Fine Art (pho- the exhibition Kangchenjunga: Imaging a Himalayan Mountain,
digitise all Pre-Raphaelite works at BMAG and is curator of an tographic and lens based practice) and Art History (history of marking the 50th anniversary of the first ascents of the mountain.
international touring exhibition on Pre-Raphaelitism, The Poetry photography, specifically: occult and esoteric applications of Teaching and research supervision covers Fine Art (painting and
of Drawing (catalogue to be published by Thames and Hudson in photography, including physiognomy; spirit photography, docu- drawing) and Art History (post-war British and Australian paint-
2010). He was the holder of the first Pre-Raphaelite Fellowship mentation of esoteric events, photographs as evidence of the ing, especially British perceptions of Australian art, identity and
jointly awarded by the University of Delaware and the Delaware supernatural; the staged and manipulated photograph, including landscape).
Art Museum in 2008. His teaching and research supervision photo-collage and photomontage; and the use of found images).
covers 19th-century art and its cultural contexts in social history
and religion; Pre-Raphaelitism; the Aesthetic Movement; the
identity of the artist in British art c1800-c1960; the history of
drawing.
20 Swansea Metropolitan University

Swansea
Metropolitan
University
Dynevor Centre for Arts,
Design and Media
The growth of SMU’s Art & Design research environment, Mae twf amgylchedd, strategaethau ac isadeiledd ymchwil Gelf a
strategies and infrastructure since RAE2001 has been significant. Dylunio’r Brifysgol ers RAE2001 wedi bod yn sylweddol. Cyflymwyd
This has been accelerated by the creation of a School of Research & hyn oll gan sefydlu Ysgol Ymchwil ac Astudiaethau Ôl-raddedig,
Postgraduate Studies, the appointment of a Head of School, three penodi Pennaeth Ysgol, tri Hyrwyddydd Ymchwil, a Gweinyddydd
Research Facilitators, a central University Research Administrator, Ymchwil canolog i’r Brifysgol, ehangu Gwasanaethau Masnachol y
the expansion of the University’s Commercial Services and links to Brifysgol a chysylltiadau â chyllid manteisio ar wybodaeth. Mae’r
knowledge exploitation funding. These developments have facilitated datblygiadau hyn wedi esgor ar nifer cynyddol o oruchwylwyr ymchwil
a growing number of qualified research supervisors, research students cymwys, myfyrwyr ymchwil ac ysgoloriaethau i fyfyrwyr a gyllidwyd
and studentships funded by our success in RAE2008, and the gan ein llwyddiant yn RAE2008, a sefydlu canolfannau ymchwil,
establishment of interdisciplinary research centres, networks and rhwydweithiau a grwpiau rhyngddisgyblaethol.
groups.
Mae mecanweithiau ymchwil allweddol yn cynnwys y Ganolfan
Key research mechanisms include the Centre for Innovation and Arloesedd ac Ymchwil yn y Diwydiannau Creadigol (CIRIC: www.
Research in the Creative Industries, (CIRIC: www.smu.ac.uk/ciric), smu.ac.uk/ciric ), Canolfan Rhyngweithio Celfyddydau Lens a
the Centre for Lens-Arts and Science Interaction (CLASI: www. Gwyddoniaeth (CLASI: www.smu.ac.uk/clasi), y Rhwydwaith
smu.ac.uk/clasi), the Science, Art and Technology Network (www. Gwyddoniaeth, Celf a Thechnoleg (www.smu.ac.uk/satnet), a’r
smu.ac.uk/satnet) and the Architectural Glass Centre (AGC: www. Ganolfan Gwydr Pensaernïol (AGC: www.agc.org.uk). Mae’r ganran
agc.org.uk ). The percentage of research active staff in the Faculty of o staff y Gyfadran Gelf a Dylunio sy’n weithgar o ran ymchwilio yn
Art and Design is high, and a mentoring scheme ensures that new uchel, ac mae cynllun mentora yn sicrhau fod ymchwilwyr newydd a
and emerging researchers are supported. Research studentships are dibrofiad yn cael cefnogaeth. Mae ysgoloriaethau ymchwil yn cael eu
aligned with relevant Research Groups and supervisors. International cyplysu â Grwpiau Ymchwil a goruchwylwyr perthnasol. Cefnogir
exhibitions, publications and symposia are supported and a number arddangosfeydd rhyngwladol, cyhoeddiadau a symposia a sefydlwyd
of international research partnerships have been established. There has nifer o bartneriaethau ymchwil rhyngwladol. Bu buddsoddi allanol
been substantial external investment in the research infrastructure and sylweddol yn yr isadeiledd ymchwil, ac mae mentrau newydd eisoes
new initiatives are in the early stages of what promises to be a highly ar y gweill ar ddechrau’r hyn sy’n addo bod yn gyfnod o weithgaredd
productive phase of activity. cynhyrchiol dros ben.
Swansea Metropolitan University // Research Groups 21

research groups
centre for lens-arts & science interaction (clasi)
Centre for Lens-Arts and Science Interaction (CLASI) potential research projects:
encourages and promotes interdisciplinary research proj- 1. Philosophical discourses between art and science (practice
ects that stimulate innovation and experimentation across and theory)
photographic, digital, installation and electronic arts. A 2. The history and evolution of lens-based practices such as
strong emphasis is placed on research strands where the his- photography and the emergence of digital technologies
tories, philosophies and practices of art and science inter- (and how this relates to our understanding of visual culture
sect. The definition of art and science is intentionally broad and representation)
and the centre is aligned with the Science, Arts and Tech- 3. Biological discourses of embodiment and cognition (neu-
nology Network (SATnet) and the Centre for Research ro-culture, anatomy, cognitive psychology, philosophy)
and Innovation in the Creative Industries (CIRIC). Key 4. Taxonomies, typologies and classification of the natural
research strands are: art and bioscience; memory and and constructed environment (including museology)
memento mori; taxonomies and constructions of nature; 5. Time-based arts and the vanitas and memento mori (with
performed photography and philosophical multiplicities. particular reference to photography).
CLASI aims to foster interdisciplinary research at national
and international levels and to build partnerships with contact: Dr. Karen Ingham, karen.ingham@smu.ac.uk
other arts and educational establishments, fostering and http://www.smu.ac.uk/research/index.php/art-and-
promoting collaborations that yield rigorous, challenging design
and inventive outcomes.

science, art & technology network (satnet)


ary collaboration between the usually distinct disci-
plines of fine, conceptual and applied arts, traditional
and emerging technologies, the physical and biological
sciences and engineering. Knowledge transfer is facili-
tated between and across science, technology, the cre-
ative industry sector and small to medium enterprises,
together with practising artists, academics and Welsh
Higher Education Institutions. It provides a forum for SMU, Dynevor Centre
creative exchange and promotes ingenuity through for Arts, Design & Media
innovation from research to production.

potential research projects


1. Investigations into print technologies, both traditional
and digital, from the perspective of conceptual, applied,
and nanotechnology perspectives.
2. Development of innovative laser cutting technologies in
the production and presentation of food.
3. Experimentation of industrial laser and waterjet cutting
technologies in the creation of steel applied art objects
and non-traditional art and engineering practices.
4. Knowledge exchange relating to the relationship be-
tween art, science and technology.
Science, Art & Technology Network (SATnet) is a Welsh
Assembly Knowledge Exploitation Fund (KEF) network contact: Anna Lewis, anna.lewis@smu.ac.uk
and research centre for science, arts and technology trans- http://www.smu.ac.uk/satnet
fer and innovation. The network promotes interdisciplin-

Creative industries research & innovation centre (ciric)


Creative Industries Research and Innovation Centre CIRIC’s mission is to foster R&D of products, processes
(CIRIC) is a £5 million development, funded through the and services. CIRIC is an exemplar of the Welsh Assem-
EU, SMU and private industry. It is a hub supporting six bly’s aim to ensure that high quality research facilities are
research projects: available to meet the needs of Welsh economic growth
1. Moving Image Wales: knowledge transfer to the sectors.
media industry (A4B KTC funded.)
2. Creativity into Micro-Enterprises: empowering potential research projects
creative practice in the business sector. 1. Media: creative developments in cross media projects
focused on attracting investment into Wales.
3. Textiles Technology Project: knowledge transfer to
2. Materials: innovative approaches in the use and application
the textile and fashion sector in Wales (A4B KTC of materials (glass, cloth, ceramics, metal, paper, wood,
funded.) composites) using laser and water cutting.
4. SATnet: a network for science, arts and technology 3. Creativity: research and practice in the relationship be-
innovation (A4B KEP funded.) tween creative pedagogy and organisational change.
5. IPCRES: International Project Centre for Research
into Events and Situations contact: james.moxey@smu.ac.uk,
6. MIKE - Media Information Knowledge Exchange - http://www.smu.ac.uk/ciric
media knowledge available and accessible to Welsh
businesses (A4B KEP funded.)
22 Swansea Metropolitan University // Research Groups

applied arts research


group
Applied Arts Research Group researchers are investigat-
ing the inter-relationship of old and new technologies and
ask questions concerning digital technologies, creativity,
the making of artefacts and the possibility of new forms
and contexts. It also includes drawing research and how
drawing supports creativity and the emergence of ideas
while making. In 2008 the group coordinated and hosted
an international symposium Marking Space which was
accompanied by an exhibition and publication. http://
www.smu.ac.uk/ciric/index.php/ciric-2005-2008/mark-
ing-space.
contact: Beate Gegenwart beate.gegenwart@smu.ac.uk
http://www.smu.ac.uk/research/index.php/art-and-design

landscape research group drawing research


The concept of landscape in its many historically-deter-
mined formations is being explored through practices
group
including painting - specifically the refutation of the nega- The functions of drawing are identified as threefold:
tive critique of landscape painting, - site-specific installa- researchers explore the
tions and interventions, and also through photographic potential of drawing as a
practices, in particular the constructions of images using means of documentation of
photo-technologies not normally applied within the land- the visual world, as a means
scape tradition. of expressing personal
responses to socio-political
contact: Prof. Andrea Liggins andrea.liggins@smu.ac.uk issues, and as a means to
http://www.smu.ac.uk/research/index.php/art-and- developing an intelligence
design of seeing through innova-
tive teaching strategies - an
intelligence which is likely
lens based research to inform the widest range
Much of the lens-based research is conducted under the contact: Mark Cocks mark.cocks@smu.ac.uk of contemporary art prac-
umbrella of CLASI. Working in partnership with cultural http://www.smu.ac.uk/research/index.php/art-and- tices. There is also cross-disciplinary research being under-
industries nationally and internationally, CLASI encour- design taken between teachers of drawing, visual psychologists
ages and promotes interdisciplinary research through prac- and study skills tutors, testing the hypothesis that indicators
tices such as photography, time-based media, performed of dyslexia might be discerned in the drawings of dyslexic
photography, digital imaging and electronic arts. students: http://www.hhc.rca.ac.uk/kt/include/2007/
proceedings/paper.php?ID=1_6

potential research projects


The Drawing Research Group is keen to develop projects that
enhance the pedagogy of drawing, and establish a theoretical
basis for the social semiotics of drawing practice.

contact: Dr. Howard Riley howard.riley@smu.ac.uk


http://www.smu.ac.uk/research/index.php/art-and-
design

fine art research group


The term Fine Art, with its legacy steeped in the Renais-
sance struggle to gain higher social status for the plastic
arts, today refers to practices both material and conceptual.
Researchers aim to integrate the two, producing work as a
personal response to any given situation, or as an interven-
tion in the wider socio-political context. Themes include
debates around gender relationships and identities; site
specificity and location; the semantics of materials; politi-
cal and cultural processes; and the dialogue between curat-
ing and practice. In any event, the search is to balance those
two criteria of quality: conceptual intrigue, and perceptual
intrigue.

contact: Tim Davies tim.davies@smu.ac.uk


Swansea Metropolitan University // Research Active Staff 23

research active staff


professor andrea liggins, Dean of Art & Design and beate gegenwart, Head, School for Fine and Applied Arts. bella kerr, Head of Foundation Studies.
Director of several CIRIC initiatives into creativity and enter- Research interests include: new vector- and image-based technol- Bella.kerr@smu.ac.uk
prise. Research interests are photography (including documen- ogies, examining their potential and impact on traditional crafts http://www.smu.ac.uk/research/index.php/bella-kerr
tary); the photographic baroque in practice; the relationship of processes, particularly in the ‘fire arts’ of vitreous enamel and
photography and values attributed to landscape; and the peda- glass; the practice-based research investigates how new concepts, eilish o’donohoe, Foundation Studies.
gogy of creativity. Supervising PhD: Hamish Gane Photography techniques and materials can enrich the field, predominantly eilish.odonohoe@smu.ac.uk
and Melancholia. through the innovative use of laser/water jet cut steel and intri- http://www.smu.ac.uk/research/index.php/eilish-odonohoe
andrea.liggins@smu.ac.uk cately laser engraved vitreous enamel surfaces.
http://www.smu.ac.uk/research/index.php/andrea-liggins beate.gegenwart@smu.ac.uk hamish gane, Senior Lecturer, Photography.
http://www.smu.ac.uk/research/index.php/beate-gegenwart hamish.gane@smu.ac.uk
dr howard riley, Head, School of Research and Postgradu- http://www.smu.ac.uk/research/index.php/hamish-gane
ate Studies. Research interests include: pedagogy of drawing; mark cocks, Head, School of Photography and Video. Cur-
visual semiotics; generative art; relationship between drawing rently engaged in PhD research into the implications for HE james moxey, CIRIC.
and dyslexia. learning, teaching and assessment of photographic chemical james.moxey@smu.ac.uk
Supervising PhD’s: Richard Monahan Indicators of Drawing and digital practice. Other research interests include exhibition http://www.smu.ac.uk/research/index.php/james-moxey
Practice in Contemporary Art; Mark Cocks The Digital Shadow: work that investigates the ongoing dialogue between the still and
Technological Interference with the Photographic Archive. moving image john paul evans, Senior Lecturer, Photography.
howard.riley@smu.ac.uk mark.cocks@smu.ac.uk john-paul@smu.ac.uk
http://www.smu.ac.uk/research/index.php/howard-riley http://www.smu.ac.uk/research/index.php/john-paul-evans
georgia mckie, Senior Lecturer and Programme Leader, MA
dr karen ingham, Reader in Art and Science Interactions Textiles; research interests include: knitted textiles and subse- ruth robinson, Senior Lecturer, Photography.
and artist-theorist. Research interests: interdisciplinarity in quent possible manipulations; digital textile processes; printed ruth.robinson@smu.ac.uk
art, science and technology and the history and philosophy of textiles for interiors and fashion; interested in ethical design and http://www.smu.ac.uk/research/index.php/ruth-robinson
science; interdisciplinarity in lens-based arts; collaborations in art committed to freelance enterprise
and anatomy and studies with an interest in embodiment theories, georgia.mckie@smu.ac.uk phil thomas, Senior Lecturer, Graphic Design.
neurobiology and cognition; photography (practice and theory) http://www.smu.ac.uk/research/index.php/georgia-mckie phil.thomas@smu.ac.uk
and the photographic memento mori; history of medicine and
medical humanities in conjunction with the arts; museology and Angela Maddock, Senior Lecturer with responsibilities for steve sullivan, Research Associate CIRIC.
taxonomy; digital film and creative writing. undergraduate contextual and historical studies programmes and steve.sulliuvan@smu.ac.uk
supervision of dissertations; co-organiser of the Marking Space http://www.smu.ac.uk/research/index.php/steve-sullivan
Supervising PhD’s: Paul Woodland, The Divergent Gene: Bio- symposium in 2008 and editor of the symposium catalogue.
medical Discourses of the Sexed Body; Brett Aggersberg, An angela.maddock@smu.ac.uk sue williams, Senior Lecturer, Fine Art.
Investigation into the Paradigms of Electronic Art and their http://www.smu.ac.uk/research/index.php/angela-maddock sue.williams@smu.ac.uk
Impact on its Value in the UK; Laura Jenkins, Can Photography http://www.smu.ac.uk/research/index.php/sue-williams
describe its own Event? Photography as Enigma in a Post-repre- julia griffiths jones, Senior Lecturer, Surface Pattern
sentational Era Design. Currently completing a commission for The National tim davies, Programme Director, Fine Art.
karen.ingham@smu.ac.uk Wool Museum, involving new work combining metalwork with tim.davies@smu.ac.uk
http://www.smu.ac.uk/research/index.php/karen-ingham digital print. Research interests include drawing, metalwork, http://www.smu.ac.uk/research/index.php/tim-davies
textiles, printed books, and the interpretation of museum collec-
dr. robert a. newell, Associate Senior Lecturer in Fine tions. peter finnemore, Lecturer, Photography and Fine Art.
Art and practitioner of painting and drawing concerned particu- julia.jones@smu.ac.uk peter.finnemore@smu.ac.uk
larly with landscape. Research interests include the relationships http://www.smu.ac.uk/research/index.php/julia-griffiths-jones http://www.smu.ac.uk/research/index.php/peter-finnemore
between subjectivity and natural phenomena in ways that involve
aesthetics, history of science, and metaphysics. Supervising linda nottingham, Senior Lecturer, Surface Pattern Design. craig wood, Senior Lecturer Fine Art.
Richard Keating, Landscape Interventions and Social Inclusion. Research interests: hand dyeing and screenprinting; digital textile craig.wood@smu.ac.uk
robert.newell@smu.ac.uk processes; needlepunching silk and wool; drawing baby garments http://www.smu.ac.uk/research/index.php/craig-wood
http://www.smu.ac.uk/research/index.php/robert-newell from the 18th and 19th century collections held at The Museum
of Welsh Life; evoking a sense of time, memory, presence and
dr. andy penaluna has a research interest in early photographic awakening through textile processes.
image manipulation and, as Vice Chair of Enterprise Educators linda.nottingham@smu.ac.uk
UK, actively contributes to international debates on creativity http://www.smu.ac.uk/research/index.php/linda-nottingham
within business enterprise and entrepreneurship.
andy.penaluna@smu.ac.uk stephanie tuckwell, Senior Lecturer, Surface Pattern
http://www.smu.ac.uk/research/index.php/andy-penaluna Design. Research interests include synthesis of diverse and mul-
tilayered experiences of landscape, drawing together cartography,
dr. paul jeff, Programme Director, MA Portfolio and Project topography, weather mapping and representations of movement,
Director IPCRESS gesture and form.
paul.jeff@smu.ac.uk stephanie.tuckwell@smu.ac.uk
http://www.smu.ac.uk/research/index.php/paul-jeff http://www.smu.ac.uk/research/index.php/stephanie-tuckwell

dr anne price-owen. Supervising PhD’s: Eva Bartussek ainsley hillard investigates the physical and metaphorical
Waiting for Eurgolice: the Role of Patience in Photography; Anna construction of cloth and its relation to body, memory and space.
Papadopoulou Origins of Creativity; Alun Reynolds A Critical Exploring a range of media, she combines traditional weaving
Analysis of the Photographic Albums of Swansea Families; Alan with audio-visual technologies, print and photography to create
Wray Form as Commemoration. site-specific installations.
anne.price-own@smu.ac.uk ainsley.hillard@smu.ac.uk
http://www.smu.ac.uk/research/index.php/anne-price-owen http://www.smu.ac.uk/research/index.php/ainsley-hilard
24 Swansea Metropolitan University // Research Active Staff

research active staff


faculty of applied design & engineering
professor kelvin donne, Dean of Faculty, Director of the sean jenkins, Senior Lecturer, Industrial Design. Research dr ross head, Cerebra Innovation Centre.
Knowledge Transfer Centre in Cutting and Fabrication. Super- interests: thermography as a tool for evaluating the physiological ross.head@smu.ac.uk
vising PhD’s: Sean Jenkins Thermographic metric of human- and emotional responses evoked in users during product interac- http://www.smu.ac.uk/research/index.php/dr-ross-head
product interaction; Andy Baker Advanced spatial awareness tion. Thermal imaging offers a highly accurate, non-contact and
within a real-time 3D environment; Said Alame Investigation into objective measurement tool for exploring the dynamics of user’s dr tyra oseng, Senior Research Associate.
the degree to which common visual responses can be identified affective state during product interaction, adding depth to our tyra.oseng@smu.ac.uk
and correlated with musical stimuli. kelvin.donne@smu.ac.uk understanding of the nature and quality of user experience and http://www.smu.ac.uk/research/index.php/dr-tyra-oseng
http://www.smu.ac.uk/research/index.php/professor-kelvin- provide useful visual and statistical data for designers.
donne sean.jenkins@smu.ac.uk sergio fontanarosa, Senior Lecturer, Automotive Design.
http://www.smu.ac.uk/research/index.php/sean-jenkins sergio.fontanarosa@smu.ac.uk
dr ian walsh, Head, School of Industrial Design and Head,
Welsh School of Architectural Glass. Research interests: the rodney bender, Research Fellow in Architectural Glass, chris thomas, Lecturer, Industrial Design. Currently engaged
study of industrial design process as a driver for innovation. Direc- founder and C.E.O of iGP Ltd, and invented KiloLux, a patented in PhD research into design against crime.
tor of the Cerebra Innovation Centre. Supervising PhD :Chris glass product first used in the Wales Millennium Centre. iGP has chris.thomas@smu.ac.uk
Thomas Design against Crime. ian.walsh@smu.ac.uk prototyped and manufactured glass product and artworks for a
http://www.smu.ac.uk/research/index.php/dr-ian-walsh variety of applications and contexts. These include working with andy baker, Senior Lecturer in Applied Computing.
Jørn Utzon, architect of the Sydney Opera House, and a variety andy.baker@smu.ac.uk
dr vanessa cutler, Lecturer, Architectural Glass, UK’s of prominent artists and designers. rodney.bender@smu.ac.uk
leading authority on the creative uses of waterjet cutting for glass. http://www.smu.ac.uk/research/index.php/rodney-bender ian williams, Senior Product Designer, IDEAS commercial
Advisor to the American Waterjet Technology Association, on product design centre. ian.williams@smu.ac.uk
the board of the Society of Glass Technologists science and new chris bird-jones, Senior Lecturer in Architectural Glass.
researchers committee. In August 2010 she will be giving a master Research interests: Architectural applications of decorative pho- sara rees, Leverhulme Artist in Residence, Welsh School of
class at the British Glass Biennale and is a keynote speaker. Super- tovoltaic technology in architectural glass; gender -centric analy- Architectural Glass. sara.rees@smu.ac.uk
vising PhD: Shelley Doolan: Water-jet cutting for architectural sis of international architectural glass education, practice, applica-
applications. vanessa.cutler@smu.ac.uk tion and expression. chris.bird-jones@smu.ac.uk alun adams, Architectural Glass Centre (AGC). Research
http://www.smu.ac.uk/research/index.php/dr-vanessa-cutler http://www.smu.ac.uk/research/index.php/chris-bird-jones interests: glass restoration and conservation.
alun.adams@smu.ac.uk
dr barry ip, Senior Lecturer in Digital Media. Research inter- henry lutman, Research Fellow in Computer Animation.
ests include computer and video games design and the use of henry.lutman@smu.ac.uk
learning technology in higher education; narrative structures in
video games, assessment procedures for computer games degrees, paul hazel, Senior Lecturer, Digital Media.
and a longitudinal study into video game quality. Supervising paul.hazel@smu.ac.uk
PhDs: Nick Hampton: Videogames- realism and the Uncanny http://www.smu.ac.uk/research/index.php/paul-hazel
Valley; Paul Hazel Narrative structures in e-learning; Martin
Capey Virtual interactive three—dimensional environments: an martin capey, Head, School of Digital Media.
aesthetic approach; Jonathan Clements An industrial history of martin.capey@smu.ac.uk
Japanese animation. barry.ip@smu.ac.uk http://www.smu.ac.uk/research/index.php/martin-capey
http://www.smu.ac.uk/research/index.php/dr-barry-ip
National Museum Wales 25

National
Museum
Wales
Research underpins all the functions and the credibility of a National Mae ymchwil yn sail i holl weithgareddau a hygrededd amgueddfa
Museum. We have a pivotal role to play in the understanding of the genedlaethol. Mae gennym ran allweddol i’w chwarae o ran deall
heritage, culture and natural environment of Wales and its place in treftadaeth, diwylliant ac amgylchedd naturiol Cymru a’i lle yn y byd,
the world and supporting increasing public and popular interest in a chefnogi diddordeb poblogaidd cynyddol y cyhoedd yn y meysydd
these areas. The National Museum’s research strategy focuses on new hyn. Mae strategaeth ymchwil Amgueddfa Cymru yn canolbwyntio
knowledge generated by the study of its collections, and projects ar gynhyrchu gwybodaeth newydd trwy astudio ei chasgliadau, a
where those collections provide key databases or resources. It is also phrojectau lle mae’r casgliadau hyn yn darparu cronfeydd data neu
a centre of excellence in new research and practice on the learning adnoddau ar eu cyfer. Mae hefyd yn ganolfan ragoriaeth mewn
and interpretation processes involved in presenting collections to and ymchwil ac arfer newydd yn y prosesau dysgu a dehongli sydd
interpreting them with different audiences. ynghlwm wrth gyflwyno casgliadau i wahanol gynulleidfaoedd.
Its research register covers all of the museum’s collecting areas, Mae ei chofrestr ymchwil yn cynnwys holl feysydd casglu’r
from biodiversity and earth sciences to social and industrial history. In Amgueddfa, o fioamrywiaeth a gwyddorau daear i hanes cymdeithasol
the fields of art and design, key areas are European art, Modernism in a diwydiannol. Mewn celf a dylunio, y meysydd allweddol yw
Britain, the art of Wales, Wales industrial and applied art history, and celf Ewropeaidd, Moderniaeth ym Mhrydain, celf Cymru, hanes
contemporary practice in Wales. A wide range of research activities are diwydiannol a chelf gymwysedig Cymru, ac arfer cyfoes yng Nghymru.
underway, supporting the themes of our acquisition and exhibition Mae amrywiaeth eang o weithgareddau ymchwil ar y gweill, sy’n
programmes as well as other core activities. Research activity is fostered cefnogi themâu ein rhaglenni caffael ac arddangos yn ogystal â
and monitored by a Research Board, which aims to ensure that research gweithgareddau craidd eraill. Caiff gweithgaredd ymchwil ei feithrin
is directed in support of our Vision and resourced as well as it can be a’i fonitro gan Fwrdd Ymchwil, sy’n ceisio sicrhau fod yr ymchwil
within our constrained budgets. wedi ei chyfeirio at gefnogi ein Gweledigaeth, ac yn derbyn cymaint o
As the Museum is now recognised as an Independent Research adnoddau ag sy’n bosibl o fewn ein cyllidebau cyfyngedig.
Organisation by both the Arts & Humanities Research Council and Gan fod yr Amgueddfa wedi ei chydnabod fel Sefydliad Ymchwil
the Natural Environment Research Council, research frameworks Annibynnol gan Gyngor Ymchwil y Celfyddydau a’r Pynciau
created for all our subject areas are being identified. We have put Dyneiddiol a Chyngor Ymchwil yr Amgylchedd Naturiol, mae
in place a new Research Policy and an overall Research Strategy, fframweithiau ymchwil yn cael eu creu ar gyfer ein holl feysydd llafur.
to support those areas where future research can be most usefully Lluniwyd Polisi Ymchwil newydd a Strategaeth Ymchwil gyffredinol, er
concentrated to support our programme of work. mwyn nodi’r meysydd lle byddai’n fwyaf buddiol canolbwyntio gwaith
ymchwil y dyfodol i gefnogi ein rhaglen waith.
26 National Museum Wales // Research Active Staff

research themes
1. Life: understanding our planet and environments
2. Origins: making sense of the present by putting
people in touch with their past.
3. Belonging: representing peoples’ memories, cultural
experiences and what it means to live in 21st century
Wales.
4. Creativity: celebrating the creativity of art and
artist, inventor and invention and the ideas that have
inspired our world.
5. Futures: engaging with and debating issues that will
shape tomorrow’s world.
6. Museum Practice

contact: Mike Tooby, Director of Learning, Programmes


& Development Michael.Tooby@museumwales.ac.uk

Below: Richard Wilson,


Dolbadarn Castle, about 1765
Right: Gwen John,
A Corner of the Artist’s Room in Paris,
Oil on Canvass, 1907-9

research active staff


oliver fairclough, Keeper rachel conroy, Assistant Curator - Applied Art anne pritchard, Assistant Curator - Historic Art
oliver.fairclough@museumwales.ac.uk rachel.conroy@museumwales.ac.uk anne.pritchard@museumwales.ac.uk

andrew renton, Head of Applied Art bryony dawkes, Partnership Projects Curator charlotte topsfield, Assistant Curator (Prints & Draw-
andrew.renton@museumwales.ac.uk bryony.dawkes@museumwales.ac.uk ings) charlotte.topsfield@museumwales.ac.uk

nicholas thornton, Head of Modern & Contemporary Art rebecca ellison, Oil Paintings Conservator
nicholas.thornton@museumwales.ac.uk rebecca.ellison@museumwales.ac.uk

emily o’reilly, Senior Paper Conservator beth mcintyre, Curator (Prints & Drawings)
emily.o’reilly@museumwales.ac.uk beth.mcintyre@museumwales.ac.uk

judi pinkham, Senior Conservation Officer (Applied Art) melissa munro, Derek Williams Curator of Modern and
judi.pinkham@museumwales.ac.uk Contemporary Art melissa.munro@museumwales.ac.uk
National Museum Wales // Curatorial Research Interests 27

curatorial research interests


re-display of centre block west wing galleries To plan francis place (1647–1728): early images of wales To gwen john (1876-1939) To discover more about our works
and formulate ideas for redisplay of post-1950 works in the new fully research 18 works on paper by Francis Place which form an by Gwen John enabling better access to them for visitors to the
West Wing Galleries. important part of the collection being they are the earliest images Prints and Drawings study room and contribute to the ongoing
contact: oliver.fairclough@museumwales.ac.uk of Wales carried out on the spot in 1678. redisplay of art galleries
contact: beth. mcintyrewales@museumwales.ac.uk contact: beth.mcintyre@museumwales.ac.uk
sisley in england and wales Research of primary sources
for Sisley’s visit to Wales and enhance understanding of two of his japanned tin plated sheet iron and its conservation the japanned wares of pontypool and usk Develop a
Welsh paintings in the museum’s collection. To investigate the techniques of Japanning employed by different greater understanding of the japanned ware collection and create
contact: charlotte.topsfield@museumwales.ac.uk factories to determine whether the surface deterioration is influ- a thematic research framework to better understand the social
enced by variations in the composition of the japanning lacquer. context of this material
Re-display of miniatures collection Re-display and re- contact: judi.pinkham@museumwales.ac.uk contact: rachel.conroy@museumwales.ac.uk
interpretation of the collection. Research into techniques and
identify sitters. david cox’s oil painting technique To research works by pierced forms: henry moore and barbara hepworth
contact: emily.oreilly@museumwales.ac.uk Cox in NMW collection and discover more about Cox’s oil paint- in the 1930s To further understanding of Moore and Hep-
ing techniques and working methods, and identify further oil worth at a key transitional phase in their careers.
welsh ceramics Publication of ‘semi-popular’ book of Welsh paintings on paper. contact: nicholas.thornton@museumwales.ac.uk
ceramics in NMW collection and make new research available. contact: rebecca.ellison@museumwales.ac.uk
contact: oliver.fairclough@museumwales.ac.uk thomas davies and the welshpool gold cup To learn
richard wilson- further technical studies To discover more about the life of Thomas Davies and the mechanisms of
discovering t. leigh To expand knowledge of the portrait more about the materials and techniques of Richard Wilson, his Welsh involvement in the early English empire
painter T. Leigh and the role he played in serving the gentry of contemporaries and followers contact: andrew.renton@museumwales.ac.uk
Wales. contact: kate.lowry@museumwales.ac.uk
contact: stephanie.robertsn@museumwales.ac.uk the ‘école de 1830’ in the ac-nmw collection Develop
ox horn cups: survival or revival To compare 20 known the understanding of the pre-Impressionist 19th-century French
continental porcelain at nmg Raise awareness of collec- examples, and investigate use, makers, details of manufacture and art collection, focusing on the contrasts between the academically
tion of continental porcelain by publishing for the first time a trace archival references to ox horn cups in Wales accepted and the subversive Realist works.
semi-popular book on museum’s continental porcelain collection contact: oliver.fairclough@museumwales.ac.uk contact: anne.pritchard@museumwales.ac.uk
contact: andrew.renton@museumwales.ac.uk
the influence of dylan thomas on the work of ceri
nmg gallery guide Produce a new edition of the 1990 gallery richards To research the influence of the poetry of Dylan
guide incorporating new research findings Thomas upon the work of Ceri Richards with a particular focus
contact: andrew.renton@museumwales.ac.uk on works held in the Derek Williams Trust collection.
contact: melissa.munro@museumwales.ac.uk

Supper set, enamelled and gilded


earthenware, Cambrian Pottery,
Swansea, about 1800-10
28 University of Glamorgan

University of
Glamorgan
Division of Visual Art
With a well established postgraduate teaching and research profile, the Mae’r Uned Ymchwil Cyfathrebu, Diwylliant ac Astudiaethau’r
Communication, Cultural and media Studies Research Unit, (CCMS) Cyfryngau yn adnabyddus am ei haddysg ôl-raddedig a’i hymchwil,
has developed a lively postgraduate community. This is facilitated by ac mae wedi datblygu cymuned ôl-raddedig fywiog. Hwylusir
Department of Media, Culture and Journalism Research Seminars and hynny gan Seminarau Ymchwil Adran y Cyfryngau, Diwylliant a
a close relationship with the Centre for the Study of Media and Culture Newyddiaduraeth a pherthynas glos gyda Chanolfan Astudio’r
in Small Nations. The unit is wide-ranging, encompassing research Cyfryngau a Diwylliant mewn Cenhedloedd Bach. Mae’r uned yn
within communication, culture, media, journalism and film studies. eang ei chwmpas, yn cynnwys ymchwil mewn cyfathrebu, diwylliant, y
Such work may draw on, or address, theory, history, policy, institutional, cyfryngau, newyddiaduraeth ac astudiaethau ffilm. Bydd y fath waith yn
textual, critical and/or empirical analysis, and also practice. ymdrin â damcaniaeth, hanes, polisi, dadansoddi sefydliadol, testunol,
beirniadol ac/neu empiraidd, ac arfer hefyd.
University of Glamorgan // Research Centres 29
research centres
centre for the study visual arts
of media & culture in research
small nations unit
The Centre for the Study of Media and Culture in Small The Visual Arts Research Unit is in the process of being
Nations was established by the University of Glamorgan in formed and will take as its initial remit the need for col-
November 2006. Whilst the idea for a Centre which takes laboration, cross- and inter-disciplinary approaches to
as its focus ‘small nations’ arose out of work on Wales, the research in art practices and their applications in Wales and
intention is to include in its scope other small nations in beyond.
the UK, Europe and beyond. Essentially, it is the process of
globalisation and its corollary, localisation, and the impact research fields:
that such developments have on media and culture in small 1. Communication, Culture and Media Studies
nations that has prompted this initiative. The overall aim is 2. Film Studies
for the Centre to produce research of the highest standard 3. Art and Design
that has relevance both for Wales and other small nations,
and which also has global significance.

contact:
The Story Telling Centre
http://storytelling.research.glam.ac.uk/about/
Small Nations Right: Dan Allen,
http://culture.research.glam.ac.uk/about Self-portrait with Chair,
Ceramic & Glass, 2007

Below Left: Jan Bennett,


Still from Head Projection, 2009
Below: Heather Parnell,
Three Dresses, Installation, 2009

research active staff


frances woodley Head of Division of Visual Art. My inter- understanding and transformation that go beyond the textual. architects, engineers and project teams in Wales and England to
ests lie in exploring the relationship between art practice, herme- The creation of new art from old thus presents new positions from develop and realize public art projects as part of urban regenera-
neutics and art history in relation to pre-modern European paint- which to interpret and alternative approaches to interpretation tion schemes. In the same year I founded the company parnell.
ings of still life and early modern English paintings of laid tables. itself. fwoodley@glam.ac.uk mackie.rowe to further these interests. At present I am undertak-
An MA in Art History with the Open University completed in ing an MA in Art Practice at University of Glamorgan, exploring
2009 fostered an interest in the ambiguous depictions of foreign heather parnell Award Leader, MA Art and Communities. the capacity of materials and processes of art practice to elicit
objects in Hogarth’s Marriage A-la-Mode. Since starting the I am a practicing artist with a long standing history of working in sensory responses in viewers and participants. In studio practice,
MPhil at UWIC I have furthered this interest to include ways in education, community and public contexts in Britain, Egypt and I am using autobiographical experiences and autoethnographic
which contemporary art practice makes use of such depictions. Italy, on residencies and commissions in education, healthcare methods as the springboard for my research which is informed
As Gadamer writes in Truth and Method past art and contem- and urban settings. From the outset, my work in this field has been by Maurice Merleau-Ponty’s thinking on phenomenology and the
porary understanding operate in a “fusion of horizons”. I suggest led by a belief in the value and necessity for community engage- significance of embodied experience in the perception, reception
that processes of art that refer, defer and transpose the objects ment and participation in art practice as a means of self and collec- and response to works of art. hparnell@glam.ac.uk
and laid tables depicted in these traditional works can accomplish tive expression. Since 1999, I have collaborated with other artists,
30 University of Glamorgan // Research Active Staff

carol hiles Award Leader MA Arts and Health. I am inter- lications have been on the painters Joan Baker (2009), Ken Elias jan bennett Part-time Lecturer. Jan Bennett’s practice-based
ested in the discourse between public and private arts practice (2009) and Ernest Zobole (2007) and on the artist collective The doctoral research project - Scientists,
Monsters and Other Allies:
particularly within the field of arts and health, specifically the Welsh Group (2008) and I have curated major exhibitions on all Hybrid Becomings in Contemporary Art, is
concerned with
relationship between artists’ practice within healthcare settings four of these subjects. In 2007, I was awarded an Arts Council the representation of genetically and technologically
modified
and other contexts. Accompanying the drive to advocate and of Wales Individual Production Grant to curate, research and humans within contemporary visual art practice and popular
extend arts and well-being initiatives within the UK is the need coordinate the ‘Mapping the Welsh Group at 60 / Mapio’r Grŵp and
scientific media. The study examines their respective roles
to strengthen the evidence base, to demonstrate the positive role Cymreig yn 60’ project which included studio visits to forty con- in forming
public opinion, as well as in educating readers and
of the arts in health through qualitative and quantitative research temporary artists working in a variety of media. I am planning a viewers in relation to
potential and developing technologies;
including the use of clinical models to prove its efficacy. How is conference in 2011 on the imaging of south Wales since 1910. comparing and contrasting the context
for and objectives of
research in the field informing and colouring the creative work of artists and scientists in relation to biotechnology.
Through the
the artist both directly and through the work of commissioning production of artworks which seek to participate in and
chal-
agencies, NHS Trusts and the development of arts and well-being lenge the opposition between progress and transgression in art
strategies? How is the artist’s language mediated in the shift from and
science, the project investigates how these oppositions relate,
studio or gallery to the healthcare environment? What taboos and conflict and
intersect. The purpose of the study is to demonstrate
means of sublimation (external and internal) might be in place to through both theory
and practice, the ways in which the critical
effect and alter the artist’s voice? I am engaged in examining these intersection between art and
science informs our understanding
questions through practice led research and case study analysis. of human being and human becoming.
chiles@glam.ac.uk exquisitecorpse@btinternet.com

inga burrows Senior Lecturer in Film Studies. Inga’s research daniel allen Award Leader BA Art Practice.
Currently study-
is practice based, the materials she works with digital video, ing a PhD at Bath Spa University my main research interests
focus
archive, light projection, site and memory story. The three large- on the cognitive decoding of both figurative and non-figura-
scale installation projects she has completed have involved com- tive
portraiture. I have also participated in a number of research
munity participation. She has collaborated with critical theorist projects
spanning broader concerns within the visual art and
Dr Katja Krebs (University of West of England) on a number of design fraternities. In
recent years I have been the recipient of
publications, which discuss the process of producing participa- Chris Nurse, Paint Factory, 2008 two research grants. In 2007 I
worked collaboratively with col-
tory art works. Recent projects include dissemination of research leagues in the division of Design at the
University of Glamorgan
findings on poverty issues in collaboration with South Riverside chris nurse
Award Leader MA Art Practice. My research to produce an interactive and automated brain
theatre. Last year
Development Centre and Oxfam, Wales, and the production interests are practice based and interdisciplinary in that I use I worked in association with the National Museum of Wales
on
series of four short films in collaboration with The National Dance painting, printmaking and object making in the production of my a series of projects exploring the relationship between artist
Company of Wales, Cardiff Council and three primary schools. work. Recently I have been taking prints from bits of plastic or and
collections. Having received substantial external funding we
Inga is currently developing an audio visual work ‘Nurture Watch’, cardboard packaging and turning them into paper models of tele- were able to
run three, three-month artist residencies culminat-
drawing on Victor Burgin’s concept of ‘elastic time’. visions from which I can then draw and paint. I am interested in ing in a major exhibition
and book publication exploring the role
Iburrows@glam.ac.uk the language of representation and the difference between the real of the modern museum. Running in
parallel to the culmination
and the simulacrum. When we see visual images our impression of the Artist-Object Project I convened an
international four day
dr ceri thomas University of Glamorgan, Curator. I am of them is filtered through our internal memory banks of count- conference, September 2009. ‘The Go Between’ brought
artists,
employed as a 0.6 curator at the University of Glamorgan, Ponty- less other images. On looking at a rough and ready version of a curators and academics together to examine the role of artist
pridd, where I founded and ran the Zobole Gallery from 2002 to thing by a non-artist, a child or an outsider artist, a space for the as
intervener between museum collections and audiences. I am
2007. Currently, I run the Orielau y Bont Galleries and the Uni- imagination opens up between the real object and its represen- currently editing
volume two of ‘the go between¹ book and inter-
versity of Glamorgan Art Collection Museum within the same tation. Scarecrows, snowmen, dolls, models made from food or active dvd; collating academic
papers and keynote presentations
institution. My research specialism is the visual culture of south junk populate a landscape I want to vividly recreate so that they from the conference. dallen@newport.ac.uk
Wales since 1945 and within this area I am particularly interested become almost alive in the fictional world. cnurse@glam.ac.uk
in: the imaging of place; the exhibition, gallery space and art col-
lection as research tools and parts of the eco-museum; the role of
the curator as place-specific, creative researcher. My recent pub-
Glyndŵr University // Research Groups 31

Glyndŵr
University
Glyndŵr University achieved full university status in 2008. In the Enillodd Prifysgol Glyndŵr statws prifysgol llawn yn 2008. Yr un
same year, the publication of the latest Research Assessment Exercise flwyddyn dangosodd canlyniad yr Ymarferiad Asesu Ymchwil (RAE)
showed that the University had already established an internationally diweddaraf fod y Brifysgol eisoes wedi sefydlu proffil a gydnabyddir yn
recognised research profile in six subject areas including Art and rhyngwladol mewn chwe maes, yn cynnwys Celf a Dylunio.
Design.
Gwneir y gwaith ymchwil, y barnwyd fod mwy na 50% ohono o
The research, of which over 50% was adjudged to be of International safon ryngwladol, mewn wyth Canolfan Ymchwil, sydd yn cynnig
standard, is undertaken in eight Research Centres, which provide focus ffocws ac arweinyddiaeth, ac yn sicrhau y cynhyrchir màs critigol o ran
and leadership, and ensures that a critical mass of expertise is achieved, gwybodaeth arbenigol, yn cynnwys y Ganolfan Ymchwil ar gyfer Celf a
including the Research Centre for Art and Design and the Centre for Dylunio a’r Ganolfan ar gyfer Ymchwil Addysgol.
Pedagogical Research.
Cysyllter â: Dr. Peter Heard, Cyfarwyddwr Astudiaethau Graddedigion
Contact: Dr. Peter Heard, Director of Graduate Studies p.heard@glyndwr.ac.uk
p.heard@glyndwr.ac.uk

research groups
research centre for art centre for pedagogical
& design (rcad) research (cpr)
The Centre has a strong focus on collaborative and interdisciplinary research, and sup- The Centre’s main aim is to promote the development of pedagogical research and scholar-
ports applied research and knowledge transfer across the sector. Members of the Centre ship, nationally and internationally, as well as to co-ordinate activity across the University
have published and exhibited internationally, and have received major national commis- in this area. CPR’s research crosses disciplinary and professional boundaries, reflecting the
sions, such as for Terminal 5 at Heathrow Airport and from WAG for the development of increasing emphasis on relationships between research, scholarship, learning and teach-
advanced prototypes for exhibitions and display systems using new technologies for poly- ing, and how these underpin and inform curriculum development and enhancement. The
styrene production. Centre also supports Glyndŵr Universities Continuing Professional Development (CPD)
Professor Ian McLaren is Head of the School of Education where RCAD is based and programme for academic staff.
a member of the Peer Review College of the Arts and Humanities Research Council. He is The Centre focuses mainly on the development and enhancement of research-informed
also Education Editor for the international graphic arts journal “Baseline”. curricula and pedagogical practice in higher education, but its members have also under-
taken a substantial amount of research in pre-16 education, and in informal and continuing
education. CPR has engaged actively with policy makers, professional practitioners and
contact: p.heard@glyndwr.ac.uk research users.

contact: p.bassett@glyndwr.ac.uk
32 Existing WIRAD Research

Existing
WIRAD Research
Creative Pedagogies
The starting point for this research theme is art & design pedagogy. One of the first initiatives arising from the new Creative Pedagogies
The commitment to individual creativity which underpins art & design Theme is a scoping project to determine the feasibility of setting up
education, particularly at HE level, has encouraged the emergence a Welsh Centre for Creative Teaching & Teaching Creativity. This
of radical and effective teaching and learning strategies which are would initially focus on art and design and would be part of the wider
frequently in advance of theoretical models drawn from studies in WIRAD dissemination and engagement aspirations.
psychology, sociology and general education. Here staff are exploring
the extent to which art & design strategies are supported by theoretical
and/or action research studies, looking at the cross-disciplinary and
cross-cultural potential of best-practice in the sector.

research partners
andy penaluna Andy’s doctorate examined the origins of dr derek stears BA., DipCDAE., M.Ed., PhD. Main research jane davison Currently undertaking a PhD investigating inter-
photographic image manipulation and previously unrecorded interests preparing a book provisionally called ‘Art Inform’ for disciplinary learning in higher education and the relationship
airbrush history. He is a research-active member of the National Pearson Education (likely publication date October 2010) inves- between policy and practice in higher education.
Council for Graduate Entrepreneurship (NCGE) and the Insti- tigating UK qualifications in art and design for secondary educa- jane.davison@newport.ac.uk, 077147 12543
tute of Small Business and Enterprise (isbe). tion, for PGCE and subject specialist readership. The key areas of
andy.penaluna@smu.ac.uk 07836 360 834 concern are critical studies and visual culture. Currently working tracy pritchard’s research has mainly been in the area of
on an interactive website as part 2 of the book. pedagogy concentrating on theory and practice, however during
annie grove-white My research activities span different areas: janederekstears@supanet.com, 02920513195 the past year she has conducted a research project looking at the
from pedagogic research into students’ experience and under- effects both positive and negative on the impact that international
standings of the relationship between theory and practice, to staff dr steve gill Steve is a Fellow of the Higher Education exchange students have on the workroom environment.
perceptions of the use and development of IT in art and design Academy and a Teaching Fellow of the University of Wales Insti- tpritcha@glam.ac.uk
(LTSN supported project). agwhite@uwic.ac.uk, 02920416631
 tute, Cardiff and Coordinator of Programme for Advanced Inter-
active Prototype Research (PAIPR). He has also worked with ruth dineen’s main research field is in the promotion of cre-
cath roche The integration of theory through creative practice. a number of major industry partners (Samsung Europe, Sony ativity in education internationally. Has undertaken a compara-
The relationship between artwork and environment / space. Ericsson, Kinneir Dufort Design, Alloy Total Product Design) to tive project with Sichuan Institute in China leading to an exhi-
The relationship and dialogue between artefact and artwork. develop new methods of rapidly prototyping complex computer- bition and public seminar about creative education held in the
The role of maker as curator. cath.roche@colegsirgar.ac.uk, embedded products with user interfaces since 2003. UK and China (April 2007). Instigated the HEA ‘Creativity or
01554 748211, 0781 3843311 sjgill@uwic.ac.uk, 0292041 6732/6606 Conformity’ conference which UWIC hosted in January 2007.
rdineen@uwic.ac.uk, 02920 416633
cerys alonso Whilst I teach across several programmes includ- emma marshman The Higher Education Academy. The role of
ing FdA Art and Design, BA(Hons) Applied Arts and MA Con- graphic design for the Creative & Cultural Industries in Wales - Is steven keegan Keegan’s researches have two interwoven ele-
temporary Applied Arts, I am the Programme Leader for: FdA Art it informing curriculum design in Higher Education or stifling it? ments underpinning his practice; firstly, the historical use of figures
and Design, FdA Art and Design for Landscape and FdA Digital ejmarshm@glam.ac.uk, 01443 668542 in literature and visual arts and secondly the study of enhanced
Media Design and Production. FdA Art and Design is also fran- curricula activity through industrial partnerships, commissions
chised to Coleg Menai and Coleg Llandrillo as well as delivered at ingrid murphy Currently undertaking a Learning and Teaching and competitions. s.keegan@glyndwr.ac.uk, 01978293522
Glyndwr University. I have developed and validated several pro- Development Unit funded project exploring advanced techno-
grammes at Glyndwr and have been an external panel member for logical learning strategies applied to the delivery of skills teach- dr gary m. pritchard is currently engaged in developing the
other validation events across the country. ing in ceramic processes. Interested in undertaking research in theme of his doctoral thesis, ‘strengths-based education’, which
c.alonso@glyndwr.ac.uk, 01978 293519 to how creativity is taught in material based disciplines and how encourages students to focus on developing their talent and
blended learning and specific learning environments may affect strengths as their primary motivation.
this. imurphy@uwic.ac.uk, 029 20416343 gary.pritchard@newport.ac.uk, 01633 432175, 07738 198889
Existing WIRAD Research // Research Partners 33
dr stephen thompson’s main research field is the philosophi- other research interests include the development and assessment jo walter Interests include organisational culture and change,
cal and pedagogical implications of emerging technologies and of reflection, all aspects of learning and teaching, and the impact communities of practice and collaborative working.
emerging design practices. of occupation of health and well-being. rmatheson@uwic.ac.uk, jo.walter@smu.ac.uk, 07828 490502
sthompson@uwic.ac.uk, 02920 416308 029 20201535
andy roberts Andy’s research area is understanding the student
mark cocks PhD research into the implications of chemical and dr kate e taylor Representation of the body in cinema, dance, as an individual: his PhD looked at how cognitive styles and other
digital technology on the learning, teaching and assessment of theatre and art: with special reference post-modern and Feminist individual differences affected students performance in architec-
photographic degree students. visual theory; Women and Visual Culture: including French, tural design project work and his current research focuses on how
mark.cocks@smu.ac.uk, 01792 481021 British and American directors; feminist film theory and the role we might encourage students to engage in reflective practice, and
of women in film and cultural history; Globalisation and Visual is looking at how individual differences might impact upon this.
sion hughes Most recently Sion has played a key role for Cultures: with particular emphasis on Japan, South Korea and robertsas@Cardiff.ac.uk, 029 2087 4602
Glyndwr University developing international collaborative rela- the representation of Women and other minority groups; Visual
tionships. This is now his main research interest, in particular, cultures and Arts of East Asia: history, theory, development and james ison My practice has evolved in the space between tra-
pedagogically-based research which explores the issue of how to culture with special reference to questions of Nationhood and ditional workshop craft and fine art textiles, and explores the
develop teaching and learning strategies which effectively nurture Post-war Trauma. cos601@bangor.ac.uk, 01248 383656 tactile qualities of objects and materials in relation to the body;
creative thinking and innovative visual and material based prob- my current research project, Boys don’t make ball gowns, son,
lem-solving within diverse and cross cultural scenarios. paul croft The integration of studio-based research - primarily unpicks the notion of the gendered pathway within the textiles
s.hughes@glyndwr.ac.uk, 01978 293501 concerned with lithographic practice and collaboration - into the discipline of art education. jison@uwic.ac.uk, 029 2041 6291
pedagogical environment and research into the interfacing tech-
chris glynn Glynn has been engaged in creative pedagogy niques of stone lithography and computer-generated drawing.
across the arts since 1986 when he took a PGCE at Goldsmiths puc@aber.ac.uk, 01970 622460, 07950 490154,
College under Dame Janet Ritterman, specialising in connections www.paulcroft.org
between music, drama and visual art. cglynn@uwic.ac.uk,
www.csad.uwic.ac.uk/illustration, 029 20417085 desdemona mccannon I have a strong interest in analogue
design solutions, the importance of craft and making in the design
ruth matheson, MSc, Dip COT, CMS, FHEA has a particular process, designers as producers, how innovation and entrepe-
research interest in human creativity and has undertaken research neurship can be fostered in design education and the primacy of
on the promotion of creativity through problem-based learning; drawing and strategies to express non verbal thinking.
d.mccannon@glyndwr.ac.uk, 01978 293 528

Clive Landen, from the series, Space Invaders,


2005 (ongoing)