Research Catalogue

A visual map of the RC. Hover over a screenshot to see the title and author. If you click you will see a gallery with a screenshot of each of its weaves. There is a form which allows you to filter based on title, author, keywords, abstract and date. For an exposition to appear in this map, it needs to be public (share -> public or published). The map is updated once every 24 hours. There is an alternative map that allows you to browse all research by keyword.

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

Development of Curatorial Guidelines for the Transart Residency Exhibition at London's Borough Road Gallery in July 2025. The Anthologies Assembly, London 2025, extends a call for proposals for a vibrant, student-guided convergence of research inquiry and creative exploration. Building upon the inaugural assembly, participants are encouraged to embrace "research-based creative practice" as a means of knowledge generation where diverse disciplines intersect and boundaries blur. We welcome proposals that illuminate PhD research, including nascent "works-in-progress," emphasizing the value of ongoing inquiry. Guided by student feedback expressing both a desire for grounding in practice and community as well as exceptional moments that inspire, we aim to create spaces for genuine encounters and shared learning, where participants leave with lasting impressions on research and creative endeavors that continue to spark curiosity throughout the year. Our curatorial framework centers on the concept of investigation, as both a rigorous pursuit and an introspective exploration. Drawing from its etymological roots, we conceive of investigation as a tracing towards something no longer present—a turning-towards truths hidden or lost in time; and a nuanced examination of practices, be they social, political, or personal.

Agnès Varda was more a photographer and invested in photographic storytelling in her fictions and non-fictions, such as the murals in Faces Places (Visages Villages, 2017). Experimental photographic narration and her artwork-like uses of the internet therefore is not a coincidence. In her internet accounts, she posed with her fans, while her Instagram account looks like an experimental work, an exhibition, open to the public and unfinished. In her first photograph, she is holding a necklace with a cat figure in her hand.

A person listening to Ludwig van Beethoven might think he is in a Jean-Luc Godard movie. An opponent of laws and canons. Beethoven sought to break the convention and laws of harmony. Johann Sebastian Bach, in contrast, never attempted to break the traditions.

The project began as a commitment to 30/30, an initiative offered by Artquest, where subscribing artists were required to upload a new artwork to a 30/30 dedicated platform on a daily basis though the month of February and into March, 2025. The response formatted as this exposition is variations of text, image, and video animation, archived as still-image iterations mostly sized at 21 x 29.5cm and hyperlinked videos of up to two-minutes’ running time. The works’ content wavers between anecdotal and academic/theoretical. (Artquest issued non-obligatory collective prompts at the start of each day, which is in this case sometimes either used.) Any texts from each iteration have been copied to a companion page and corrected, rephrased or explained. The iterations play with oscillation between text and image, where the look of text under these circumstances becomes more noticeable while retaining much of its readability. Theoretical reading during the project had been Isabelle Stengers's book on the philosopher A. N. Whitehead, which is variously referenced in the iterations. At the same time, the author’s recent interest in a question of adaptability of the psychoanalyst Jacques Lacan's Logical Square to the question of the artistic research process is referenced. Given that the theories of these two authors do not in any obvious sense relate, their conflation in a sense holds their function in the iterations open to question, analogous to how one reflects on interests in and through one's visual practice. While the 30/30 structure required daily decision-making and action, any one iteration tended to be of consequence to the next, which afforded continuity of duration to the project.