Dr David Ryan, Reader in Fine Art
David's practice incorporates painting, video, music and critical texts. He likes them to be seen as autonomous practices that share commonalities. Notions of abstraction and indeterminacy are central to his practice both in the visual arts and the music. His critical texts explore these issues as dominant subject matter. These texts have historical and theoretical dimensions and provide the context for his multi-faceted practice.
Dr Véronique Chance, Course Leader, MA Fine Art and MA Printmaking
Véronique's art-practice is mainly photography and video based, but also maintains strong links with print, sculpture and performance practices. Her research interests lie in the relationship between the physical presence of the body and its presence as a screen image, through which she examines the impact of visual media technologies on our perceptions of the body as a physical presence. This is closely related to the subject of her PhD, completed at Goldsmith's College, University of London in October 2012.
In recent work she has used mobile camera technologies to transmit and record her eyeviews, whilst performing long distance runs in the outside environment. This work forms part of a larger inquiry regarding the performative nature of human physical activity, which draws on the contexts and trajectories of performance art practice in pushing the body to the limits of physical endurance and uses the performative nature of technology and of the moving image as a means of mediating that experience.
Benet Spencer, Course Leader, BA Hons Fine Art
Benet Spencer’s architectonic paintings evolve out of various stages of production – preparatory drawing and the collection of photographs, the transformation of images into fictitious collaged spaces, and the resulting paintings, which are usually large scale and evolve in multiple layers towards a completed form. Whilst the process and language of painting are a primary research interest, along with its role within contemporary art, digital imaging and the relationship of painting to architectural language and 3D modelling have become increasingly important. His work is split between his position in Cambridge as BA Fine Art course leader, his studio practice, which is based in Tulse Hill, South London, and various international curatorial projects that have developed over recent years.
Dr Simon Payne, Senior Lecturer in Film and Media
Simon's most recent experimental video work has involved an intense exploration of digital colour fields, graphic forms and digital tone rows, with colour and sound in clashing and complementary combinations. The work that he has made spans single-screen, multi-projector and installation work, and has been shown in various contexts from experimental film festivals through to gallery spaces. The common investigation across these pieces concerns ways in which the viewer engages with colour mixing in three-dimensional space over time, complex time-based structures and the ways in which video fosters illusions of movement and depth. In addition to making video art works, he has also sought to develop and discuss ideas in articles for journals and publications concerning artists' film and video, new media art and animation. Simon is also the editor of the publication Sequence, devoted to artists' film and video and its links with other contemporary arts practices.
Neil Henderson, Principal Lecturer in Film and Media
Neil's work examines, music, landscape, film and its materiality. His most recent film Tidal Island (2014) explores a circular island on the Lincolnshire coast. Built in the 1970s the island is all that survives of a project to shape the Wash into a fresh water reservoir. The film examines the island through live action and time-lapse filming. Images of deep space, close ups of maps, and electronic sounds re-imagine the island as a work of science fiction. Between 2009 and 2011 he made three short films with the musician Evan Parker. Portrait of Evan Parker (Silver/Gold) is an examination of the free improvisers playing technique viewed from below and within the soprano saxophone. The film is in two pieces, shot in B&W and colour. Light shines through the valves of the instrument, illuminating and making visible the notes we hear.
Rosanna Greaves, 0.5 Lecturer in Fine Art
Rosanna works in a site-specific context, using place as material, to create intermediary installations using audio, video, text and sculpture. Her research-driven approach leads to the production of multi-layered installations that allow for simultaneity of different narratives and time frames, these being representations unlocked from the place of enquiry in order to reposition or subvert a hidden social or political historic context. The initial exploration of site then acts as a catalyst to develop new autonomous works, which focus on broader research interests such as temporality, environmentalism, language, deconstruction and documentary methodologies.
Robert Holyhead, 0.4 Lecturer in Fine Art
Robert makes abstract paintings (oil on canvas) in relation to small watercolour studies that initiate possibilities or act as starting points for new works. His work attempts to gather and to clear; gather in the sense of bringing things into view, then clearing through a process of reducing and refining the surface. This method allows each painting to suggest an autonomous centre, ultimately resisting the tradition of compositional outcome (each new work being informed by the previous) and hopefully allowing the activity and language to remain precarious and the surface convincing.
Matthew was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had public exhibitions at Gasworks, London; The Hayward Project Space, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield.
Matthew has exhibited in various major UK survey shows including the ICAs Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. He is represented by Herald St Gallery in London and Jousse Enterprise in Paris. This year he will also have his first exhibition with Lisa Cooley Gallery in New York.
Matthew is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions - one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. He is one of the founder members of Open School East in Dalston, was last year the sculpture teaching fellow at The Slade School of Art in London and this year was invited to be an honorary fellow at Anglia Ruskin University. He lives and works in Rochester, Kent.
Recently graduated PhD students associated with FARU
Tom's research has developed from a concern with sculpture, having then broadened out into various concerns with installation/object and moving image. He is particularly interested in how the object increasingly operates as a 'portal' - whereby sculptural objects become shifting signifiers, screen-like and virtual rather than physically grounded and univocal. Not only are objects and images subverted in some way, but they also examine the potential for a frictional relationship to their origins in the everyday and popular culture.
Jamie's investigation is around memory, loss and what Maurice Blanchot referred to as 'forgetful memory'. His research looks at how constructed objects and structures can become vessels for this kind of saturation in particular in relation to the experiential conditions of their location and site.
His work plays with both familiarity and estrangement, but also examines the contemporary conditions (and problematic) of what we might find locatable as a particular 'englishness' in relation to their physical context, content and situation.
Andrea's research looks at the relationship between painting, drawing and processes of thought. She is interested in Deleuze's notion of a 'shock to thought' whereby the experience of the work can momentarily unravel preconceptions and defamiliarize what, and how, form holds. She is very concerned with the act of making, but also its contextualization and, as revealed in Adorno's late writings, the potential sedimentation of content and its various histories within the work itself.