Anya Lewin




Anya Lewin is an American artist and academic based in the UK. Her work often reflects her own personal history, which includes stories of immigration, translations from multiple languages, and fictional connections to real events. She has completed two parts of a trilogy of moving image installations (and is in production on the final part) which explore her family history of immigration as well as their connection to screen history from silent cinema of the German Expressionist Era through to 1950’s & 60’s Hollywood – a path many Jewish immigrants followed. Each exhibition has become more ambitious and involved a longer period of research and production along with a move to working with commercial film crews in order to develop the high production values necessary to mimmic the source material the projects draw from. Lewin has also worked with performance, participatory practice, and single channel film and video work.

Lewin is a Reader in Art and Moving Image in the Fine Art Department at Plymouth University and serves  on the executive board for the Society for Artistic Research.

Amitesh Grover

Amitesh Grover

Amitesh Grover develops and mediates relationships in Assemblies - public mass, multitude, congregation, crowd, convention. He engages with the Gathering as a medium and form, and asks: What constitutes an assembly today? His interest is in different kinds of knowledge production in assembly-making, and an investigation into the vocabulary of ‘negotiations’ that emerge in assembly-formations....

Michele Manzini

Michele Manzini was born in Verona (Italy) in 1967. For many years his art has been concentrated on the definition of figures that can suggest instability and conflict as unresolved elements. His work develops through the use of a wide variety of media, among which video, photography, installations, writing, and performances. He has exhibited his works in numerous shows and venues in Italy and abroad, among them the Italian Institute of Culture, Prague, 2009; MAXXI, Rome, 2009; SUPEC, Shanghai during the 2010 Expo; and the Venice Biennale in 2011 and 2013. His videos have been selected  for important international festivals and have been screened at the Saitama Arts Theater in 2015; the Perez Art Museum Miami, 2016; and at the Lincoln Center for the Performing Arts in New York, 2016. He has published various essays and texts, among which “Il paesaggio e il suo mito” Editions de la Villette, Paris, 2002, and “Mescolanze” Edizioni Kn-Studio, 2011. In 2009 he was awarded the Terna prize for contemporary art.

Research and Art Interests dArt/Research/Seven points by Michele Manzini

1. First of all, before the struggle was formally declared, two kinds of knowledge and two languages found themselves opposed with regard to their reciprocal and exclusive relationship with the truth: tragic knowledge, the language of myths and stories, and philosophical knowledge. We are in the fifth century BC and the field of the dispute is Greece. Tragedy proposes the cognitive experience of dissent, disruption, precariousness, and the impermanence of existence. Against this idea was a powerful adversary: Plato and his philosophical knowledge; he managed to blacken and undermine his antagonist. Plato's victory was the foundation of philosophy and the  negation of knowledge being found in poetic and narrative fiction. 2. It was Nietzsche who later re-proposed the terms of that battle by stating that it was necessary to go back thousands of years, to the struggle by Heraclitus and Empedocles against the philosopher Plato, in order to discover a form of thought similar to that which he was trying to define by suggesting appearance as the thing in itself. Plato won the dispute. However he left it to the future to define the precise terms of the struggle, terms which were to turn up with uncertain results at various times and in various places in the history of thought. It be found, for example, in Vico's proposal of a "poetic logic", one able to guarantee the "truth of fiction". It was seen again in Hölderlin's Empedocles, permeated with the feeling that in the relationship between man and nature there was no solution or reconciliation. It flared up again in The Castle by one of the great protagonists of our century: Kafka. In fact Kafka is the "man of the struggle", the person who leads a battle against the invisible logic of the Castle in the name of the reasons of life, of a truth that is not closed and immutable but receptive of what is possible.

3. Today, one of the aspects of the crisis of modernity is the ending of dialectic; Bodei saw this as the end of a philosophical thought that was still able to organize both polemos and logos. This ending has generated conciliating philosophies such as hermeneutics, which resolve the dialogic conflict; deconstructionism, which pulverizes the conflict; or weak thought, which makes it evanescent. This ending has also led to philosophies which have emphasized the conflict, but have deprived it of all reason, as in Foucault's thought. In a word: logos without polemos or polemos without logos.

4. The suppression of conflict and otherness lowers the future's outlook and anticipations.So the future presents itself, not as an enigma, but as something immutable which delivers us back to the present. Man today is a man who lives only in the present.

5. I know that we can, all the same, build houses, places, and breeding grounds, and that we can plan a landscape. But in all those places where the horizon is analogous to that of inert things, then we can have no other enthusiasm unless that of possession or of a conciliating vision.The realm is that of the "delicate monster" of boredom, of that boundless apathy that I could call melancholy. Here Dürer's angel has her wings folded. She cannot rise in flight because, if it is true that a being unfettered by things is lightness, it is also true that this lightness is literally unbearable. The gesture of a hand caught forever in a ray of light in an interior by Vermeer where nothing can ever happen, or Hamlet's eternal mourning as he refuses to confront the death of his father in a positive manner, deny any possibility of movement for a thought that is formed through an infinity of forms which are also dissonant with each other.

6. The enjoyment of an image is an important passage in experiencing reality, but its partiality can be overcome within the conflicting dimension of a figure. The figure is the process of "another thought" with respect to that of classical philosophy, a thought that passes through literary "images" and concepts and that holds together two "half truths": the greatest abstraction of the concepts and the great strength of myths, unreasoning, analogies, and images. As Musil has said, the figure dwells between these two worlds.

7. I create figures. Figures are an attempt at making a form and which I contrast with the fascination of images which, even though laden with truth, shine and then vanish without becoming knowledge. My figures contain polemos in themselves, in the sense that they contain in themselves instability, conflict and otherness without dissolving or resolving it. This logos advances laden with unresolved tensions. Its horizon is populated by many, even infinite, possible forms; it is receptive in the same way as the destiny of tragic heroes in the face of the "many forms taken on by the divine", forms which are the terrible yet stupendous richness offered to modern people

Keywords Harmony and dissonance, instability and conflict, unresolved tension, the idea of a “figure”, esperience of limits and threshold, the concept of distance, tragic knowledge, relationships between things/space and the subject.


Elizabeth Gerdeman

Elizabeth Gerdeman considers the conflicting ways we conceive of the natural world. Working with an array of materials and images, she creates mixed-media collages, room-scale paintings, interior decor inspired installations and experimental videos taking visual cues from contemporary tourism and home improvement advertisements using images of nature as design element and branding tool. Her recent art projects deal with the human relationship to landscape – the tangible physical space occupied as well as the intangible concepts, narratives, and experiences of place – and the cultural confines through which these images are constructed.

Prior to her undergraduate and graduate studies, she served as a member of Americorps. She graduated Summa Cum Laude from the Columbus College of Art and Design in 2004, where she majored in Fine Arts and minored in both Art History and Art Therapy. In 2006, she was awarded a University Fellowship from The Ohio State University, and in 2008 she received a MFA in Art, and an additional Graduate Interdisciplinary Specialization with concentrations in Contemporary Art History and Social Geography.

Born in the United States and currently residing in Germany, over the last few years Gerdeman maintains her artistic practice exhibiting between the U.S. and Europe. She is a Visiting Artist Lecturer at the Academy of Visual Arts Leipzig. Her additional teaching experience includes Visiting Assistant Professor of Painting at Ohio University, Lecturer at The Ohio State University and Adjunct Faculty the Columbus College of Art and Design.

Art and Research Interests She is currently available to supervise MFA students focusing on the aesthetic form of nature or landscape and its substantive content, as well as those concerned about the interface between built and natural environments, both historically and during the current age of the anthropocene.

Keywords perceptions and explorations of place / placelessness / translocational identity / nature & culture / anthropocene / landscape as a medium of social, economical, and political ideologies / rise and fall of value ascribed to specific places / site-specific interventions / experience of an area through its representation / landscape as subject and object / painting / drawing / images / abstraction / collage / objects / installations / videos / urban planning / landscape design / advertising and home improvement / geography / topography / cartography / eco tourism / virtual and visual realities

Jill Magi

Jill Magi is an artist, writer, and educator working in text, image, and textile. Most of her projects explore the places where received teachings and ideologies conflict with lived experience. More recent projects investigate the compositional possibilities of systematic explorations of flatness and repetition, an investigation she believes to be counter to western-world concepts of depth, authenticity, and worth. She is the author of over five books, the most recent of which is LABOR (Nightboat 2014). Her text works are hybrid works that move between image, essay, poetry, fiction; they are both sentence-based and fragment-embracing. In spring 2015 Jill wrote weekly for Jacket2 on “a textile poetics,” and other recent essays have appeared in The Force of What’s Possible: Accessibility and the Avant-garde, The Racial Imaginary, and The Eco-Language Reader. She has held residencies with the Lower Manhattan Cultural Council, the Textile Arts Center Brooklyn, and has exhibited visual work at apexart, Pace University, the Brooklyn Arts Council Gallery, and Arcade Six Gallery Columbia College. The New York University Abu Dhabi Project Space gallery mounted a solo exhibition of her work in 2015. She teaches textiles, poetry, and art electives at NYUAD where she joined the faculty in 2013.

Art and Research Interests She is available to work with MFA students, especially those interested in using text, engaging in social research and art-making, textile, installation, hand-made books, and those who would like to develop systematic experimental practices to generate a body of work across mediums.

Keywords textile, weaving, embroidery, writing, writing as drawing, poetry, experimental text

Alison J Carr

Alison J Carr is an artist and writer. She studied at the California Institute of the Arts, absorbing both the critical dialogue and the lure of the Hollywood facade. She worked with Leslie Dick, Natalie Bookchin, Ellen Birrell and Jo Ann Callis, developing her critical voice as well as her singing voice (taking singing lessons to help her with singing theory). Following her soujorn to LA, she returned to Sheffield to do a PhD at Sheffield Hallam University where she had earlier gained her undergraduate degree. Supervised by Feona Attwood and Jaspar Joseph-Lester, her thesis How Do I Look? Viewing, Embodiment, Showgirls & Art Practice challenged the ubiquity of theories of objecitification and the male gaze, as part of her attempts to find her own words and ways of speaking her pleasure in watching fierce women perform. Her artwork investigates embodiment, femininity and performativity through collage, photography, video and performance pieces. Underpinning her creative gestures is a fascination with the limitations of representation as well as the empowerment possibilities of dancing with a devil-may-care insouciance. Her work disrupts the constant stream of images of women we are surrounded by in magazines, films and commercials by contrasting them with alternative encounters where the audience can see me embodying something different: an empowered showgirl who enjoys her own body, and uses her voice.

Art and Research Interests She is available to advise MFA and PhD students, and welcomes those with interests in bodily display, performance, gender, persona, pleasure as well as issues of representation, visual culture, pop and celebrity culture.

Keywords performance, pleasure, persona, speaking, collage, photography, representation, looking, viewing, display, gender, video, embodiment


Joseph Imhauser

Joseph Imhauser's artworks and events use the structure of choice as a medium to create platforms that welcome chance and encourage poetic connection to heighten the malleability of definition. His works oscillates between too many variations to list. In 2009 He co-founded Lyeberry, an informal platform for the sharing of events, experiences objects and ideas.

Imhauser received a BFA from CalArts (2005) and MFA from NYU Steinhardt (2012). In 2009 he co-founded Lyeberry, a mobile platform dedicated to undermining the hierarchical structures of dominant power through informal environments. He currently teaches art theory at NYU Steinhardt. Recent awards include the Rema Hort Mann Foundation’s YoYoYo Initiative for Lyeberry (2014) and the Carla Bruni-Sarkozy Fondation Cultural Exchange Fellowship (2013). Recent exhibitions and performances include: Poetics of a Wall Projection at Parapet Four Seasons, Los Angeles, CA (2016); Rican/Struction: Abraham Cruzvillegas & Amigos, Galería Agustina Ferreyra, San Juan, Puerto Rico (2016); Todo en Orden at Celaya Brothers Gallery, Mexico City, Mexico (2016); Anti-Aufklärung at Point Éphémère, Paris, France (2016); Exit: Cartographia de la Creatividad at Museo de Arte de Sinaloa, Culiacán, Mexico (2015); Un Cabinet de Curiosités at Antoine Lefevbre Editions, Paris, France (2015); Roulade: The Hubris Issue at Husk Gallery, London, UK (2015); Lyeberry #13: Luckyday at Santa Monica Museum of Art, Santa Monica, CA and Cratér Invertido, Mexico City, Mexico (2014); Body Politics at EMBROS Free Theatre, Athens, Greece (2014); If We Carry On Speaking the Same Language to Each Other We Are Going to End Up Repeating the Same History at PARMER, New York, NY (2014).

Art and Research Interests Joseph is available to advise MFA and PhD students with backgrounds in art theory, queer theory, contemporary philosophy, collaboration, fabrication, performance, and visual art.

His research interests include but are not limited to political and social events, consciousness, computation, artificial intelligence, anarchism, archives, autobiographical accounts, alternative formations, multidimensionality, revolution, combinations, disruption, bookmaking, boundaries, fetish, organizing, self-realization, multipolarity, affect, communicability, nonsense, everyday experiences and the intersection of social and individual perspective.

Keywords Nonsense is sense for the future. - Chus Martinez

Christina McPhee

Christina McPhee’s images move within a matrix of abstraction, shadowing figures and contingent effects. Her work emulates potential forms of life, in various systems and territories, and in real and imagined ecologies. Her dynamic, performative, physical engagement with drawing, in both her analogue and digital works, is a seduction into surface-skidding calligraphic gestures and mark-making. The tactics of living are in subterfuge, like the dazzle ships of camouflage in war. Lines throw down rope-like bridges, cat’s-cradling figures, or a search for grounding and commons. Cached and clustered, fragments take exception to systems. Color sparks disruptions of scale that reveal allusions to biochemical contraventions, migration, grammars, and marine stress. Her work takes on violence, tragi-comic exuberance, and vitality from within a ‘post-natural’ experience of community.

Christina McPhee’s live and recorded drawings animate dense montage within images of fragile marine ecologies and seismic landscapes. “McPhee’s drawing, extended to and infiltrated with digital video, seems to outline a different and stranger project: that of creating as yet unknown material composites by aligning the rapid time-processing of our nervous systems with the emergent natures at actual sites of energy production or extraction” (Ina Blom).

Christina McPhee’s work is in the collections of the Whitney Museum of American Art, Rhizome Artbase-New Museum, the Kemper Museum of Contemporary Art, and Storefront for Art and Architecture, Thresholds New Media Collection, Scotland, and elsewhere. Solo museum exhibitions include the American University Museum, Washington, D.C., and Bildmuseet, Umea, Sweden. She has participated in group exhibitions, notably Documenta 12, Bucharest Biennial 3, Museum of Modern Art Medellin, Bildmuseet Umea, Berkeley Art Museum/Pacific Film Archive, California Museum of Photography/Digital Studio, and the Institute of Contemporary Art (ICA), London. She was a recipient of a 2012 MAP Fund for Performance in collaboration with Pamela Z for the multimedia performance in video, voice and chamber ensemble, Carbon Song Cycle, which premiered at Berkeley Art Museum/Pacific Film Archive. Forthcoming in 2016: a new monograph on her work with Punctum Books, and a solo exhibition at Cerritos College Art Gallery, Los Angeles.

Born in Los Angeles, she lives and works in California.

Art and Research Interests Christina McPhee is interested in working with students around processes, and strategies in drawing, painting, photography and moving image. She works as well as a thesis writing coach.Topics of special interest include feminist data visualization, critical approaches to the science and mediated information around climate change,  grammars and polysemic  mark-making in visual and sonic scores...She combines this research with network-based texts and image-shards, to explore the seduction and violence at play in contemporary aspiration, desire and consumption. McPhee's dynamic, performative, physical engagement with materials in both her analogue and digital works is a response to a late-capitalist, disembodied, screen-based age. Evidence of the human touch is literally embodied in the works: smearing, tearing, scraping, slicing all tinted with bruise-like purples, blood-like reds, or shit browns. Color enables the unfolding narrative within the work, sparking and pulling the image from the inanimate object that tries to contain it. McPhee uses techniques of multiplicity, doubling, mirroring, shattering, editing, cropping and ghosting to explore vitality and loss. Absence and presence echo simultaneously across her canvasses. Jagged shards vye for position and collide with animate and anime-like elements that together swarm, fold, cascade and crash in compositions that suggest tumbling, swelling and accelerating mass movements.  Isolated individual components break free or rejoin and regroup, striving for common ground. McPhee's videos feature collaborations with sound artists, including Pamela Z, Pauline Oliveros, and Quinn Dougherty.  Her photography  involves Rorschach-like gelatin silver prints that have a forensic quality and call into question the creative act itself.

Keywords drawing and writing, technological sublime, painting, photography, video installation, video,anthropocene, climate change, data visualization, big data, data sonification, third-wave feminism, post-nature, nature, subjectivity, drawing, polysemic, asemic,  trans-media, noetic, topologies, topographies, mapping, grammar, grapheme, pre-linguistic, linguistic, feminist, performance, performance theory, political-aesthetic, literature and visual art, illumination, spirituality, text-based, visual text, animation, montage, cinematic, materialism and art, transformation, metonymy, metaphor, alchemy, pharmakon, contemporary new music and visual art, visual poetry, visual music

Teobaldo Lagos Preller

Teobaldo Lagos Preller (Puerto Montt, Chile, 1978) is a writer based in Berlin and he works as a Ph.D. Associate Researcher at the Research Group "Art, Globalization, Interculturality" (Universitat de Barcelona). He holds an M.A: in Interdisciplinary Latin American Studies and a B.A. in Communication Sciences at the Universidad Autónoma Metropolitana in Mexico City. His doctoral thesis is about the relationship between art and the public sphere in Berlin after the fall of the Berlin Wall, focusing on the production of liminal spaces through art practices. He has collaborated with several collectives and individuals, the Freie Universität Berlin, the German Federal Foreign Office and the Jumex Foundation/Collection (Mexico).

Art and Research Interests He's available to supervise MFA Students on the canalization of their work, construction of narratives and discourses, integration of social and historical issues as well as difussion. The relationship. is writing practice is related to public space, collective memory and possible worlds, focusing in the cosmopolitan in the european context. Density, layers, space-time are the keywords. He has advised artists in Europe and the American continent on the formulation of concepts, difussion and collaborated with his writings in their projects. A particular interest is by now the relationship between artistic practice, knowledge production and public sphere. Examples of his works are found on anthologies and art catalogues, in which a close relationship between literary writing, journalism and research can be noticed.

Keywords Collaboration, Artistic Research, Public Sphere, Cosmopolitanism and the Contemporary. Journalism on and in relationship to artistic practice.

Lou Cantor


Lou Cantor is a Berlin-based artist collective founded in 2011, whose main scope of interest is grounded in intersubjectivity and interpersonal communication. Lou Cantor’s practice explores the polysemic minefield of contemporary communication, where medium, message and meaning constantly fold back into each other. Previous group exhibitions include The Laubour of Watching, leto gallery, Warsaw and OSLO10, Basel; Language and Missunderstanding, CUNY, New York; Epistemic Excess, Artists Space, New York; 7th Berlin Biennale; New National Art, Museum of Modern Art, Warsaw, 2012; and the Villa Tokyo, 2011. Lou Cantor co-edited Turning Inward and Intersubjectivity Vol. 1 published by Sternberg Press and gave talks at The City University of New York, Artists Space, NY and MoCA Miami among others.

Research and Art Interests We are available to supervise MFA and PhD students, specially those with an art related interest in intersubjectivity, interpersonal (also object-object or subject-object) communication, artist collectives, cognitive labour, cognitive conditioning of perception and changes to language (specially of artistic practice) modified by new technologies and market strategies.

Keywords intersubjectivity, interpersonal communication, artist collectives, cognitive labour, cognitive conditioning of perception, language, new technologies and market strategies


Alex Roberts

Alex Roberts is a British artist that lives and works between Berlin and the UK. She is an artist who works with paint and translucence; addressing paintings’ surface and spatial depth. Testing the sliding scale of figuration and abstraction, her focus is how we perceive identity and change - encounters.

Exploring the relationship between what we see and what we feel, the work invites the viewer to question their own perceptions, while hinting at a narrative, or capturing moments in the lives of others. The candid enquiry often exposes polarized, human states. Currently she is exploring the tensions between what is public and what is private: how, in today’s digital world, appearance often contrasts with reality and sociability belies intimacy.

Research aims: Her objective is to open a conversation (seeking to spark social exchange) rather than make a statement.

As a painter she pursues extending the 2-dimensional arena. Not only with practical understanding of the application, materiality of paint, use of grounds, plethora of surfaces and layering, but equally, in challenging, pushing and questioning what painting can be, and where it can take the spectator.

Roberts completed her own MAFA at Chelsea College of Arts, UAL, 2015. Previous study: City of Bath Art College, Reading University (BAFA), London College of Printing. Roberts continues to work at the University of Bath (Departments: ICIA, Architecture and Civil Engineering) as an Artist/Tutor. She is delivering painting and life drawing workshops.

2016, Roberts is helping establish a programme of workshops/courses and platforms of exchange with Drawing Projects UK.  She has started by providing drawing courses about the figure.

Recipient of the University of the Arts London, PG Communities Fund, established the show, ‘Housed’, Cookhouse, Chelsea College of Arts (2015). Housed has developed as ‘Connect': an exchange, exhibition and art festival between Polish and UK-based artists, re-locating to the Rondo Gallery/Academy of Fine Arts, Katowice, Poland for June 2017. Recent exhibitions: Choices, The Edge, ICIA, University of Bath (2015, solo), group shows: Disstemma 7, The Crypt Gallery, London, and being shortlisted for Contemporary Visions VI, Beers London (2015), The Red Mansion Art Prize, Beijing/London (2016).

Art and Research Interests She is available to mentor MFA students of all disciplines, and especially welcomes those curious in voicing the slippage between figuration and the abstract, plus a dialogue that sparks an exchange of private, public and or suggestive, hybrid residue. Her own discourse is painting with installation concerns, so she welcomes practices driven by process but also those with interests in examining, expanding upon and offering invitations to behold the viewer, or stage the viewer as protagonist. She is always happy to share her realisations with painting and other forms of agency. Delivering an experience where the revival of all our perceptions, and aiding the translating of students’ subjects are given support to come to fruition.

Keywords Painting, drawing, process, figuration, abstract, installation, alternative project spaces, intimacy, public and personal encounters, perception, suggestive narrative, memory, intangible feelings, presence, otherness, the uncanny, identity, social exchange.

Miriam Schaer


Miriam Schaer is a Brooklyn-based interdisciplinary artist who uses artist books, garments, photography, installation and collage to explore feminine, social, and spiritual issues. She is represented in numerous collections, including the Alan Chasanoff Book Arts Collection at the Yale Museum, the Arts of the Book Collection at Yale’s Sterling Library, the Mata & Arthur Jaffe Collection: Book as Aesthetic Object at Florida Atlantic University, the Brooklyn Museum of Art, Harvard University, and the Sallie Bingham Center for Women’s History & Culture at Duke University.

Miriam Schaer is a 2016-17 U.S. Fulbright Scholar and will be working in the Spring 2017 with Iakob Gogebashvili Telavi State University in the Republic of Georgia, teaching artist books and /research into craft and textiles, specifically felt and embroidery in relationship to artist books. Her projects, Crafting Women’s Stories: Lives in Georgian Felt and Craft Power: Enhancing Women's Rights Through Traditional Practices in the Republic of Georgia, with colleagues Clifton Meador and Melissa Potter, earned Soros Foundation funding were realized in the Republic of Georgia in 2013.

Her work has earned a NYFA Artists Fellowship, inclusion in the Elizabeth A. Sackler Center for the Feminist Art Base at the Brooklyn Museum, representation at the Cheongju International Craft Biennale in South Korea and was an artist in residence for the Imagining the Book Biennale at the Bibliotheca Alexandrina in Alexandria, Egypt.

Her series, Baby (Not) On Board: The Last Prejudice?, about societal prejudice against women without children, was included in MAMA-Motherhood Around the Globe at the International Museum of Women, and featured on and the Huffington Post.

Miriam Schaer is a Senior Lecturer in the Art+Art History Department at Columbia College Chicago. Prior to joining the Columbia College faculty, she taught Art of the Book at the Pratt Institute, and served as a visiting artist at numerous institutions, including Sarah Lawrence College, Marshall University, and Colorado College

Art and Research Interests Miriam Schaer is currently available to advise MFA students, especially those with an interest in the narrative, autobiography, feminism and material culture.

Keywords Ideologies of Motherhood, Material Culture Studies, Constructs, of Femininity, Body Image, Fiber, Craft and Feminism, Social Practice, Materiality and the Object, Interdisciplinary Practice, Feminist Sociology, Autobiography, Feminist Theory, Book Arts, Personal Narrative, Motherhood and Creative Practice, Social Practice and Artist Books, Feminism-History of Feminism, Future of the Book, Photography, Installation, Printmaking, Fiber, History of the Book with a focus on non-codex structures and non-western forms


Stephanie Bolster

Stephanie Bolster is a Canadian poet interested in perception and representation, and in place and displacement, with a particular focus on the visual arts (especially photography), "ruin porn," architecture, domestic spaces, theme parks, and the "middle landscape" of zoos and gardens. She has published four books of poetry, the first of which, White Stone: The Alice Poems, won the Governor General's and the Gerald Lampert Awards in 1998. Her latest book, A Page from the Wonders of Life on Earth (2011) was a finalist for the Pat Lowther Award (from the League of Canadian Poets), and an excerpt from her current project was a finalist for the Canada Writes/CBC Poetry Prize in 2012. Editor of The Best Canadian Poetry in English 2008 and co-editor of Penned: Zoo Poems, she teaches creative writing at Concordia University in Montréal. Although her supervision to date has consisted of literary works, her ekphrastic practice as a writer inclines her to work with visual or performing artists whose work has a textual component.

Art and Research Interest Long Exposure, her current project, is a book-length poem that takes as its starting point Robert Polidori’s post-disaster photographs of New Orleans and Chernobyl. This interrogation of the writer’s relationship to looking and to art-making also concerns itself with, among other subjects, Japan’s 2011 tsunami and nuclear disaster, ghost towns, Expo 1986 and Vancouver’s propensity for architectural self-transformation, the generative and destructive potential of the kudzu vine in the American South, and the recent designation of the Exclusion Zone around Chernobyl as a wildlife sanctuary populated by the endangered Przewalski’s horse.

As a thesis supervisor, she has worked with students writing in a range of genres and approaches to genre: collections of discrete poems, linked and long poems, cross-genre writing, digital poetry, and prose in the form of short fiction and the novel. As both a writer and a supervisor, she is particularly interested in process, and drawn to sustained, critically engaged, self-reflexive works that are -- and offer -- an experience, rather than a rendering of an experience.

Keywords The long poem and the poem series, Ekphrasis, Ruin porn, Disaster tourism, Environmental transformation, Middle landscape, Zoos, Vermeer and other Dutch painters of the 17th century, Japanese aesthetics and culture, Charles Dodgson/Lewis Carroll and Alice Liddell

Ryota Matsumoto

Ryota Matsumoto is a principal and founder of an award-winning interdisciplinary design office, Ryota Matsumoto Studio. He is an artist, designer and urban planner. Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at Architectural Association in London and Mackintosh School of Architecture, Glasgow School of Art in early 90’s. Matsumoto has previously collaborated with a cofounder of the Metabolist Movement,  Kisho Kurokawa as an associate of Nihon Sekkei, Inc. before establishing his office.

He is the recipient of Florence Biennale Mixed Media 2nd Place Award, Premio Ora Prize Italy 5th Edition, Premio Ora Prize Spain 1st Edition, Donkey Art Prize III Edition Finalist, and Lynx International Prize Be Art Builder Award. He was awarded the Gold Artist Prize from ArtAscent Journal, the 1st Place Prize from Exhibeo Art Magazine and the Award of Excellence from the Creative Quarterly Journal of Art and Design in 2015 and 2016. His artworks, writings and interviews were published in Kalubrt Magazine, University of North Carolina Wilmington Journal Palaver, the Journal of Wild Culture, Studio Visit Magazine, Fresh Paint Magazine, International Artist Magazine, Made In Mind Magazine, Arizona State University Journal Superstition Review, Creative Review, Next Nature Network, Carbon Culture Review, among others.

Matsumoto’s work reflect the morphological transformations of our ever-evolving urban and ecological milieus, which could be attributed to a multitude of spatio-temporal phenomena influenced by social, economic and cultural factors. They are created as visual commentaries on speculative changes in notions of socities, cultures and ecosystems in the transient nature of constantly shifting topography and geology. His artworks and design projects explore the hybrid technique combining both traditional media (ink, acrylic, and graphite) and digital media (algorithmic processing, 3d parametric modeling, data transcoding and image compositing with custom software and plugins ).

The varying scale, juxtaposition of biomorphic forms, intertwined textures, oblique/anamorphic projections and visual metamorphoses are employed as the multi-layered drawing methodologies to question and investigate the ubiquitous nature of urban meta-morphology, emerging realities of the Anthropocene and their visual representation in the context of non-Euclidean configuration. Furthermore, the application of these techniques allow the work to transcend the boundaries between analog and digital media as well as between two- and multi-dimensional domains.

Art and Research Interests My current interest gravitates around the embodiment of cultural possibilities in digital hybrid art, parametric design, ecology and urban topography. The interdisciplinary approach towards the research projects is meant to bridge the gap between architecture and art, two cultural realms, which reflect on contemporary society and to transcend or merge the bounds of them as our own artistic expression.

Keywords Digital Hybrid Art, Mixed Media, Parametric Design, Generative Algorithms, Ecology, Architecture, Urbanism

Julia Olson

Bio & Artist Statement

I'm interested in exploring themes that deal with identity, connectedness, storytelling, spirituality, the sacred, and narratives of beauty, power, and ritual. My creative practice explores how niqab and veil adornment define feminine identity in an imagined future in a narrative where veiling can project an identity in new and fantastical ways as a metaphor for the imperceptible self, connection, spirituality and beauty.


niqab, hijab, imperceptible self, identity, veil, veiling, metaphors, connectedness, the sacred, storytelling

Simon Pope

Simon Pope

Simon Pope’s art practice is preoccupied with participatory art's engagement with new materialism and concepts of the more-than-human. He was recently awarded a doctorate from the Ruskin School of Art at the University of Oxford (2012-15) for the practice-led project, Who Else Takes Part? Admitting the more-than-human into participatory art.

Raphael Raphael


I am a film and media scholar and digital artist.  I am interested in intersections between the transnational and genre and form. My writings on transnational cinema and educational technology include: _Transnational Stardom: International Celebrity in Film and Culture_ (co-editor, Palgrave, 2013);  _Transnational Horror Cinema: Bodies of Excess and the Global Grotesque_  (co-editor, Palgrave, 2016); and _Let's Get Social: The Educator's Guide to Edmodo_ (co-author, ISTE, 2015).


digital, film, cinema, transnational, transmedia, disability studies, ability, genre

Judith Mazzucco


Judith Mazzucco is an interdisciplinary artist working in mixed media, film, photography and words. Her praxis evolved from the investigation of her life in close proximity to animals, interspecies relationships, and the marginalizing effect of domestication on animals and the consequential affect upon creativity. She has presented her processes internationally, exhibiting in the United States, the UK, the Netherlands, Spain, Ireland, Vancouver, Tehran and Berlin.

Exhibitions, Installations & Conferences

  • • 2005 Alumni Show, Monmouth University, NJ • 2007 Monmouth Festival of the Arts, NJ • 2008 NJ Equine Artist Assoc., Lebanon, NJ • 2011 Untervegs, Thesis Exhibition, Transart Institute, Berlin • 2012 Animals in Society Interdisciplinary Conference, Missouri University • 2012 Minding Animals, Utrecht University, Netherlands • 2012 ISAZ (International Society of Anthrozoology), Cambridge Univ., UK • 2012 FIVE by FIVE Exhibition, Tampa Museum of Art, FL • 2013 Sandy: Artists Respond to a Once and Future Superstorm, Gallery Bergen, NJ • 2013 Postdata: Esperanza Recuerda, Universidad de Granada, España • 2014 Me, Myself & I, Runnels Gallery, East New Mexico University, NM • 2014 Hopewell Valley Stampede, Process: Oxymoron • 2015 Transience, Watchung Arts Center, Watchung, NJ • 2015 Landscape and Memory, Johnston Library Gallery, Cavan, Ireland • 2015 Landscape and Memory, Black Lion, Ireland • 2015 Horse, Chazou Gallery, Kamloops, BC, Canada • 2015 Landscape and Memory, The Art House, Tehran, Iran • 2016 Obstruction, Watchung Arts Center, Watchung, NJ

Artist Statement

My praxis has evolved from the investigation of my life in close proximity to animals and the interspecies relationships that develop. My processes focus in the area of overlap, examining the social, physical and the psychological interactions; a duality of the human/animal relationship that has virtually disappeared over the past two and a half centuries since the inception of the Industrial Revolution. The Aisle of the Barn is the center of my shared universe. It is my Aleph; it is also my studio. Working on the aisle, close to my sources of inspiration is elating and liberating. The aisle is the confluence of domestication, interspecies relationships and creativity. The processes emanate from the phenomenon of domestication. The feedbag, from where the feed is dispensed, being the lowest common denominator of domestication, suffices as the basis of all my processes. Using the feedbags, shredded, pulped, woven with baling twine and wire, imbued with hay, hair, pieces of hoof, and dirt, these processes become the embodiment of the relationships occurring on the aisle.

My praxis investigates interspecies relationships and the marginalizing effect of domestication on animals and thus, the consequential affect upon creativity, examining the routine, the ungorgeous, the metaphysical elements and mapping the confluence of these themes. My research has taken me further into the expanse, where the treatment of animals and women coincide.
Interspecies relationships, domestication, creativity, horses, animals, women

Fawz Kabra



Fawz Kabra is a curator and writer. She is currently Assistant Curator, Solomon R. Guggenheim Foundation, Abu Dhabi Project, New York. She earned her MA in curatorial studies at the Center for Curatorial Studies, Bard College (2013) and her BFA in studio arts at Concordia University in Montreal (2004). Previously, Fawz initiated and administered the Arts Grant Program at the Emirates Foundation, Art and Culture (2007) and went on to curate public programs at the Cultural Department, TDIC, Abu Dhabi (2008–2011). She co-curated the special project Brief Histories: Winter/Spring 2011 in Sharjah and Dubai, UAE (2011) and was Curator of Projects at Art Dubai in 2014. In New York, Fawz was curatorial assistant for WS: Paul McCarthy at the Park Avenue Armory (2013), she curated the video program at ArteEast, Arts and Culture in Transformative Times (2013), co-curated the BRIC Biennial: Volume I, Downtown Edition at BRIC Arts and Media, Brooklyn (2014), and curated The Way Things Can Go a two-day symposium at the Armory Show (2015). Since 2012 she has been a editorial correspondent at Ibraaz, the online journal on contemporary visual culture in North Africa and the Middle East.

 Advisor: Studio/Research

Deborah Carruthers

Bio Born in Montreal, where I still live, I am multidisciplinary artist artist engaged in a conceptually-based practice. I have an insatiable curiosity about what makes us tick; the who, what, where, when, why and how.

My artistic practice has allowed me to pursue several topics of particular interest: genetics, the environment, and absence.

My interest in genetics was sparked very early on; I am an identical twin, and as one who was often a research subject, I wanted to have a better understanding of just what it was that was so compelling. Hence, a fascination with how our DNA makes us who we are, and how slight variations can have a massive impact on an organism or our understanding of it. As for environment, growing up in Quebec I have been fortunate enough to have had life-long access to the Laurentian Mountains. Until early 2002, my family had a log house on a pristine lake in the Laurentians with no road access, no electricity, and no plumbing…heaven! My father had grown up on a farm in the Laurentians, and my family spent countless hours hiking in the area and on the lakes. My Dad taught me to fish and track, and to identify birds and animals, their nesting sites and habitats. More importantly, he taught me that we are all inexorably connected to our environment, and that the loss of any habitat can have a profound ripple effect.

Although I have been exploring the topic of how we are remembered and how we remember others for some time, my father’s death in 2012  has provided impetus for me to engage with this topic on a far more personal level.

Consulting areas of interest My artistic practice has allowed me to pursue several topics of particular interest: genetics, the environment, absence, loss, and memorialization. Marcel Proust, in “À la recherche du temps perdu” (“In Search of Lost Time”) references the idea of involuntary memory through what has become known as the “episode of the madeleine” , in which the taste of a madeleine cake was enough to vividly recall visiting his aunt on Sundays, with all its attendant tastes , sounds, and smells.  My explorations are not unlike attempts to create involuntary memories. These memories may be influenced by our genetics and our environments, akin to Jacques Derrida’s contention that the past can continue to haunt the present, and are rich with regard to the senses. The use of a variety of media allows me to examine my topic of interest through engaging with touch, sight, sound, and occasionally taste. During my initial research, I often make extensive use of photography. Photography allows me to share exactly what caught my eye at a given moment: the textures, colour, and detail. Paintings let me process ideas over time, and are not meant to be mimetic. Rather, they are my lasting impressions. Sculpture allows me to create a memorial, literally expanding the idea into space. Finally, sound allows me to create a sense of place and geography.   This approach lends itself to the creation of series of works which individually present a facet of the idea under consideration, and collectively seek to provoke deliberation.


genetics, the environment, anthropocene, absence, loss,  memorialization
Links to video