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Zine, self and micro-publishing has seen a spectacular resurgence in the last decade, with individuals within tight communities pushing the boundaries of the practice in terms of form, content and process.
This paper will examine ways in which this reinvestment of illustrative authorship has been stimulated by the iterative and performative aspects of zines, self and micro-publishing, through the discussion of varied publications’ genesis with their illustrators – including my own self-published book The House.
Presentation of paper exploring the visual representation of the Jungle Camp and its residents within the UK and French Press.
The paper explores how reportage illustration engages with identity formation of both the subject and author of the work. An updated version of the paper was presented
This paper examines notions of truth in relation to fictive modalities and discourses presented in animation and constructed imagery. Drawing upon discussion of documentary animation, it considers how constructed images utilise a range of modalities in order to position discourses and make statements about reality that can affect the audience through emotional connections.
Following this, the paper considers Lewis’ and Marie-Laure Ryan’s examination of possible worlds within literary texts. It examines how constructed images negotiate the telling of truths via truth clusters, and how the recentering of audiences in relation to the fictive worlds through those clusters allows for truth to emerge in the bridging between their world and the fictive world. The paper proceeds to question whether texts combining low modalities or high fictionality are able to present truths through a collusion between the audience and authors’ worlds. It explores this notion through an analysis of the animated films Don’t Hug Me I’m Scared and Scavengers.
Innovative Futures imagines a world where our creative community, both as individuals and as creatives, will make a real and positive difference.
Innovative Futures brought together award-winning industry speakers and students from the Arts University Bournemouth for a symposium of talks, workshops and a pop-up cinema made from straw bales.
A wide ranging exhibition at this London gallery included a new piece by Dominic Shepherd. Other artists included Florain Heinke, Kate Lyddon, Sam Jackson and Wendy Mayer.
An exhibition, curated by Dominic Shepherd, that explores the relationship of contemporary art with magic and the occult. Bringing together fourteen international artists who use the magical to explore social, political, philosophical, ecological and cultural themes.
The exhibition was supported by a series of events including a specially commissioned Palo Mayombe dance ritual.
Included in the inaugural exhibition of WIDTH OF CIRCLE gallery in Stourbridge in the Black Country.
WIDTH OF CIRCLE seeks to create a space for the curious minds to linger over areas of thought that are still open to uncertainty. Encouraging intriguing works and collaborations that explore the intangible, the mysterious and the metaphysical.
In collaboration with Richard delivered a paper at ‘Painting the new: teaching painting’ conference at the Royal Academy of Arts lecture theatre. The title of the paper was ‘Head; Heart; Hand. Painting in the Post-Digital Age.’
A future publication of the conference papers is planned.
Physical Theatre director with Chhaya Collective, on Arts Council England-funded R&D project at Dartington Hall, 4-15 June 2018. Khaos is touring to UK & India in 2018-19.
About the piece:
This thesis conducts a history of flash mob performance in India, asking how the form has evolved over a 12-year period from its first emergence in 2003. Due to its rhizomatic appearance worldwide and its close association with internet technologies and digital culture, the flash mob has typically been treated as a ‘global’ phenomenon, and theories of flash mob performance derived from Euro-American contexts are frequently glossed as generic. However, this thesis asks what a close history of the genre in India can reveal, both in terms of the performance practice itself, and as a reflection of the specific cultural moment in which it emerged. It offers an examination of the processes of adaptation and remix underway as a ‘global’ performance practice has been re-interpreted and re-enacted from this specific, local and historical perspective, and it argues that these processes demonstrate one of the ways in which performance, particularly in a digital sphere, can operate to effect a ‘politics of forgetting’ in globalising India.
Paper presented at PoP turns 10: Celebrating the Popular, Practising the Urban, POP Moves annual conference, University of East London, 18 Nov.
Paper presented for the ‘Performance in Public Spaces’ working group at the International Federation of Theatre Research conference (IFTR), University of the Arts Belgrade, 9-13 July.