Publications, Presentations, Abstracts, Papers, PhD's, etc.
Atmospheric Meditations. Before Present (338 U-710 U)
Dr. Laura F. Gibellini
This volume gathers a series of drawings developed in the course of two years in which Spanish-born artist Laura F. Gibellini reflects upon the possibilities of rendering the atmospheric conditions of a given site visible.
Edited by Publication Studio Hudson and Slowtrack.
The Journal of Illustration Volume 3/Intellect Books
Drawing to Discover the British Witch
Following on from her HATCH A.I.R. project in 2014, Hayley Potter's visual essay 'Drawing to Discover the British Witch' in The Journal of Illustration Volume 3 (Intellect Books) and her work is included on the journal cover. (Dec. 2016)
Dr. Stephanie Black
Dr. Black's artist book Dear is featured in the second edition of this book. It A pivotal piece of work during PhD research, in that the results of an inductive research process allowed for the final outcome that reflected the content in its increasing decrepitude. (Jan 2017)
Image as Vortex: An Interdisciplinary Conference/The Ashmolean Museum of Art and Archaeology/University of Oxford, 18th June 2016
Dr. Lynn Imperatore
Abstract: Drawing out (of) the Image
My research engages the practice of drawing, and focuses, in particular, on the disposition of perception assumed for drawing. Here possibilities of what becomes discerned and disclosed into the visible shift and expand, as the attitude of seeing accessed in drawing is a reconfiguration of vision itself (in-sight)—allowing for discourse expounded through imagery alone, bypassing the reflex to first translate as verbal interpretation while comprehending visual information. When artistic image becomes transposed into secondary expression through text or reproductive print, it loses its force of immediacy (Ehrenzweig’s ‘hidden order’). The work of art can reverberate effect/affect over years, decades, centuries, because such imagery endures as originary act of imagination, an act that remains alive to ensuing imaginative encounter (Crowther’s notion of ‘presencing’).
The view to drawing opens onto intervals at the peripheries of the visual field: dormant agents of perception, subtleties of reflection, borders of sleep and dreams, the auras and occlusions that flicker across the gaze of everyday imagination. Seeking the image through drawing cultivates an ability to withhold assumptions of cognition; composing a response that refuses to find conclusion in preconception. A drawing’s success depends not on faithful reproduction of external reality, but rather upon how it chronicles a perceptual journey of imagination.
This paper examines specific image-to-image conversations carried on in direct contact with original artworks of the Renaissance (Florence and Siena), as revealed in sketchbook practice carried out by the author. Findings are discussed in reference to the ideas of Paul Crowther, Anton Ehrenzweig, James Hillman and Gaston Bachelard. Through the visual cognition derived by drawing, an understanding of image is achieved by means of visual interrogations that amplify the primary utterance of original imagery-- leading to new and further visual dialogues with the image’s initial and embodied impact.
The Eye's Mind: the Visual Imagination, Neuroscience and the Humanities/ Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, UK
21 - 22 May 2016
Dr. Lynn Imperatore
Abstract (Poster): See for Yourself : Drawing as Application of Perception
The process of drawing requires adaptation in the disposition of perception—an alteration that can reveal and recount aspects from the visual field beyond ostensible subject. Thus drawing is a tangible, tactile demonstration of diverse possibility within our enactments of sight. Drawing adjusts—even slows—the sensory process of seeing, allowing contemplation and expression of other trace visual data, hence reflecting both exterior and interior experiences of vision. As acquired expressive skill, drawing traditionally coalesces around specified rules which urge discrete and circumscribed projects in looking—aids for creating a record of resemblance or ‘representation’. Regardless of subject or degree of realism, such shifts within the exercise of sight permit subtler perceptual ingredients to become discernable—enabled by these views toward drawing. It is likely that transcriptional processes like drawing evolved from perceptual promptings discerned along other subtle pathways of the sensory. Transient emanations unfold beside dominant inputs of waking visual life; emanations not solely confined to access through visual art practices. Dreams, imagination, reverie and other fluctuations within our nervous system are all manifestations of embodied perception. There is always more available than can be extracted from each fleeting temporal moment—remaining unnoted unless another understanding of vision is brought to bear. My research uses drawing practice to explore its capacity to document the unexpected edges of the visual field and perceptual world. In tracking and recording glimpses of such ephemera, the observational and notational practice of drawing can disclose a fuller accounting of vision incarnate.
7th International Illustration Research/ Journal of Illustration Symposium Shaping the View : Understanding Landscape through Illustration, Edinburgh College of Art, November 2016
Dr. Stephanie Black
Abstract: Plume of Feathers: Exploration the Contemporary Moon Under Water Through Illustration
This paper will explore illustrative response to urban landscapes, their meaning determined by human use and illustration’s role in reconfiguring this by presenting alternative representations.
It is based on and will show parts of a research-led project on the decline of the public house in the UK, which takes the form of visual essays projected with the live performance of a ‘concept album’ on this theme (not prog!). This presentation will examine the relationship between illustration, subject matter and companion piece (music) and by doing so will employ theoretical perspectives concerned with ‘open works’ and nostalgia in order to articulate the contribution to the project made by the projections. The practice discussed operates as informed voice within the conversation, regularly offering a counterpoint to create illustration that welcomes critical thinking in response to the diverse perspectives presented. This is made painfully relevant to recent European political events through the discussion of the role of nostalgia in relation to the dominant representations of the pub in circulation. And this reinforces the need for informed illustration to help us question, understand and contribute to the post-Brexit, post-factual world we live in.
The process of working through the project will also be scrutinised, for it contributes to the discussion of the role of research for practice and its status as “little r” research by Scrivener (2010). By outlining the articulation of perspectives and counterarguments through illustration in the project overview, the argument will be made for a less fixed categorisation of research on, in, and for practice as outlined by Borgdorff (2010). The paper will conclude by making the case that illustration fuelled by sound research for practice is then able to offer new apprehensions of its subject matter back to the world it belongs within. Which is the point, really.