wirad

Wales Institute for Research in Art & Design

research directory 2010

2
contents

welcome to the wirad research marketplace. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
wirad programme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
speaker’s biographies. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
keynote speaker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
discussion panel members - ‘the value of research’. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

university of wales, newport. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

school of art, media and design
research groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
the european centre for photographic research (ecpr). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
the performance & screen media research group (psmrg) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
synergy computer games design research group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
smart clothes and wearable technology research centre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
the documentary practice research group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

university of wales institute, cardiff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

research at cardiff school of art & design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
centre for fine art research (cfar). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
sensory design: reactive colours. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
digit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
centre for research in ceramics (crc). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
meat. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
research at pdr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
the national centre for product design research (pdr). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

national library of wales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

research mission & projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

aberystwyth university . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
school of art
research groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
school of art museum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
centre for studies in the visual culture of religion (csvcr) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
ceramic collection & archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

swansea metropolitan university. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

dynevor centre for arts, design and media
research groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
centre for lens-arts & science interaction (clasi). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
science, art & technology network (satnet). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Creative industries research & innovation centre (ciric). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
applied arts research group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
lens based research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
landscape research group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
drawing research group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
fine art research group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

national museum wales. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

research themes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
curatorial research interests. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

university of glamorgan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
division of visual art
research centres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
centre for the study of media & culture in small nations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Visual Arts Research Unit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
research active staff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

glyndŵr university. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
research groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
research centre for art & design (rcad). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
centre for pedagogical research (cpr) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

existing wirad research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

creative pedagogies
research partners . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
 Welcome to the WIRAD Research Marketplace 3

welcome to What this gathering across the potential WIRAD

partner institutions demonstrates, is the impressive
Wales, and for individual members within WIRAD
to represent a resource for each other as we pursue

the wirad breadth, range and quality of Art and Design

scholarship in Wales. It had always been the ambition
work of world-leading and international quality. The
following pages not only reflect the diversity and

research to widen the original membership of WIRAD to

create a truly pan-Wales body with improved links
range of research activity across Wales but, it also
suggests exciting institutional partnerships and inter-

marketplace between institutions such as National Libraries,

National Museums and the academic community.
disciplinary opportunities.

We are extremely grateful to Sir Christopher

It is through real collaboration and joint project
work that WIRAD will create critical mass, strategic
partnerships, capacity and coherence from the many
locations of art & design research excellence across
the country. This can only give weight to a central
informing idea that collaboration on this scale will
produce an entity that is greater than the sum of its
parts, and allow us all to find a greater national context
for our work.
There is obvious potential here for Art and Design
education in Welsh Universities and Colleges to
provide an economic and cultural resource for
Frayling and the members of the discussion panel
for generously sharing their time, knowledge and
experience. We hope that this event will move
WIRAD closer to realising its full potential as an active
national and global research network, and in doing
so further our ambitions for advancing scholarship,
pedagogy, and their social and cultural impact.
Derek Lawther, Dean of School of Art, Media & Design,
University of Wales, Newport

croeso i Mae’r cynhaeaf yma o ffrwyth y sefydliadau sy’n

ddarpar-bartneriaid yn WIRAD yn arddangos
gyfer Cymru, ac y gall aelodau unigol o fewn WIRAD
fod yn adnoddau i’w gilydd wrth i ni fwrw ati gyda

farchnad hyd a lled, cwmpas ac ansawdd ysgolheictod

Celf a Dylunio Cymru. Yr uchelgais erioed fu
gwaith o safon ryngwladol a byd-arweiniol. Mae’r
tudalennau a ganlyn nid yn unig yn adlewyrchu

ymchwil ehangu aelodaeth wreiddiol WIRAD i greu corff

gwirioneddol genedlaethol gan wella’r cysylltiadau
amrywiaeth a chwmpas y gweithgaredd ymchwil a
geir ledled Cymru, ond y maent hefyd yn awgrymu

wirad rhwng sefydliadau fel y Llyfrgell Genedlaethol,

yr Amgueddfeydd Cenedlaethol a’r gymuned
academaidd.
partneriaethau cyffrous rhwng sefydliadau a
chyfleoedd rhyngddisgyblaethol.

Yr ydym yn eithriadol o ddiolchgar i Syr Christopher

Trwy gydweithio gwirioneddol a gwaith project
ar y cyd y bydd WIRAD yn creu màs critigol,
partneriaethau strategol, gallu a chydlyniad rhwng y
gwahanol ganolfannau rhagoriaeth mewn ymchwil
celf a dylunio ar hyd a lled y wlad. Ni all hynny ond
cryfhau’r syniad ffurfeiddiol canolog sef y bydd
cydweithio ar y raddfa hon yn creu endid a fydd yn
fwy na chyfanswm ei gydrannau, a’n galluogi i gyd i
ddarganfod cyd-destun cenedlaethol mwy ar gyfer
ein gwaith.
Frayling ac aelodau’r panel trafod am roi mor hael o’u
hamser, eu gwybodaeth a’u profiad. Gobeithiwn y
bydd y digwyddiad hwn yn symud WIRAD yn nes
at wireddu ei holl bosibiliadau, a thrwy hynny, yn
cyflawni ein huchelgais o ran hyrwyddo ysgolheictod,
addysgeg, a’u heffaith cymdeithasol a diwylliannol.
Derek Lawther, Deon yr Ysgol Gelf, Cyfryngau a Dylunio,
Prifysgol Cymru, Casnewydd

Mae posibiliadau amlwg yma y gall addysg Gelf

a Dylunio ym mhrifysgolion a cholegau Cymru
ddarparu adnodd economaidd a diwylliannol ar

drwm lecture theatre, national library of wales

10.00 - 10.45 Registration / Tea & coffee in Drwm Theatre Foyer

11.00 Welcome – Andrew Green (Librarian, National Library of Wales)

11.05 - 11.15 Introduction – WIRAD Board

wirad

11.15 - 12.00

Keynote Speaker – Sir Christopher Frayling – Research in and
through the Creative Arts: What’s the problem?
programme 12.00 - 12.10 Short break

12.15 - 1.00 Panel discussion / Q&A – The Importance of Research & The
2nd march 2010 Possibilities of WIRAD
1.00 - 2.30 Lunch

2.30 - 5.30 WIRAD Research Marketplace event – Drwm Theatre Foyer

5.45 - 6.45 Drinks Reception

4 Speaker’s Biographies
speaker’s biographies
panel members
peter florence
Peter Florence is the Director of the Hay Festivals group,
which runs festivals in Colombia, Spain, Lebanon, The
Maldives, Kenya, Kerala, Ireland and Wales. He was edu-
cated at Cambridge and The Sorbonne. Peter has an Hon-
orary DLitt from the University of Glamorgan, is a Fellow
of Hereford College of Art and Creative Fellow at the Uni-
versity of Wales Bangor.
andrew green
Andrew Green has been Librarian of the National Library
of Wales (http://www.llgc.org.uk) at Aberystwyth since
October 1998. The National Library is a legal deposit
library and is the de facto central archive repository for
Wales. It also holds important collections of manuscripts,
maps, pictures and photographs, and houses the National
Screen and Sound Archive of Wales.
Up to 1998 his entire career was spent in British uni-
versities and their libraries: University College of Wales
Aberystwyth (1973-74), University College Cardiff
(1975-89), University of Sheffield (1989-92), University of
Wales Swansea (1992-98) - the last as Director of Library
and Information Services, responsible for IT services and
networking. Andrew is an officer or member of numerous
bodies in the area of library and information work. He was
instrumental in establishing ‘Gathering the Jewels’ a pio-
neering, all-Wales cultural digitisation project, and its suc-
cessor body, Culturenet Cymru.
As Librarian, Green has ensured his connections with
higher education remain strong. He is a member of the
Council of the University of Wales Aberystwyth, of the
Courts of several universities in Wales, and holds Honorary
Fellowships in the University of Wales Swansea, Glyndŵr
University and the University of Wales Lampeter. He
chaired a Steering Group of the Higher Education Funding
Council for Wales responsible for developing a Wales-wide
strategy on Welsh medium higher education.
yvette vaughan jones
Yvette Vaughan Jones is Director of International Visit-
ing Arts. Yvette took up post as Director in October 2005.
She was previously Director of the Cultural programme
for Cardiff 2005. She has a long career in the arts working
keynote speaker
sir christopher frayling
Sir Christopher Frayling is Rector of the Royal College
of Art, the only wholly postgraduate university of art and
design in the world, and also Professor of Cultural History
there. In addition, he was until recently Chairman of Arts
Council England, the largest funding body for the arts in
the UK, he is the longest-serving Trustee of the V&A, and
Chairman of the Royal Mint Advisory Committee, which
selects the designs for new coins. He has in the recent past
been Chairman of the Design Council, Chairman of the
Crafts Study Centre and a Governor of the British Film
Institute.
for the Arts Council of Wales where she set up Wales Arts
International, a ground breaking initiative carried out in
partnership with the British Council.
Yvette spent 3 years working in Brussels as the Policy
Manager for the Wales European Centre and played an
active role in cultural policy debates within the EU before
returning to Cardiff to write the City’s bid for European
Capital of Culture 2008. She was Director of the Cardiff
2005 cultural programme focusing on community devel-
opment through the arts. She is an active member of the
UK Cultural Cities Network that links those cities that
received Urban Cultural Programme funding to work with
arts and regeneration. Yvette is also the Lead Adviser for
the North East Cultural Leadership Programme and the
UK representative on the EU working group on Cultural
Mobility.
She has published widely on arts and culture. Most
recently in the Cultural Leadership Programme journal
and is a frequent speaker at international arts and cultural
events. Yvette was a speaker at the World Summit on Arts
and Culture, Johannesburg in September 2009.
emma posey
Emma Posey is founding Director of bloc, an organisation
based in Wales supporting the creative engagement with
new technology. She has lectured and written widely on
creativity and technology as well as focusing on the effects
of technology on ‘place’ in her own art practice. Her past
lecturing experience includes Course Leader of the Cre-
ative Technology Masters at University of Salford and
visiting lecturer at University of Wales Institute Cardiff
(UWIC) and University Wales Newport (UWN). She has
edited various visual arts publications and acted as consul-
tant on external research projects.
jenni spencer-davies
Jenni Spencer-Davies is Curator of the Glynn Vivian Art
Gallery, Swansea, Wales. Since her appointment in 1999
she has initiated plans for the future renewal of the Gallery;
alongside the development of the Collection, she has also
organised many exhibitions, working with a wide variety
of artists including Mark Wallinger, Bill Woodrow, Richard
Deacon, David Nash, and Terry Setch. From 1989-1998,
Christopher is well-known as an historian, critic and an
award-winning broadcaster, with his work appearing regu-
larly on network radio and television. He has published
seventeen books and numerous articles on contemporary
art, design, film and the history of ideas. Christopher has
been, for as long as he can remember, a passionate cam-
paigner for the importance of the creative industries, and
of public investment in the arts.
Spencer-Davies was Head of Gallery at Oriel, the Arts
Council of Wales Gallery, Cardiff, where she worked collab-
oratively with Chapter and Ffotogallery to raise the profile
of Wales based artists. Exhibitions included Kazuo Katase,
Kathy Prendergast, Bill Viola, Iwan Bala, Reiko Aoyagi,
David Garner, Shani Rhys James, Louise Bourgeois, Susan
Hiller and Siobhan Hapaska.
During the 80s Jenni Spencer-Davies worked as Exhibi-
tion Organiser for The Douglas Hyde Gallery, Dublin. She
also lectured at the National College of Art and Design,
Dublin and was Director for the post-graduate course in
Arts Administration at University College, Dublin.
louise wright
Louise joined the British Council in 1997 and was
appointed to her current position based in Wales in October
2008. She has managed an international programme of
touring exhibitions and projects across visual arts, media
arts, design and applied craft. Working in partnership with
institutions such as Tate, British Library and Crafts Council
on projects including History in the Making: A Retrospective
of the Turner Prize held at the Mori Art Museum, Tokyo,
2008; Magic Pencil, curated by Quentin Blake launched in
the UK in 2002 and presented in over 55 countries, and
the innovative Fabric of Fashion shown in Northern Europe
and Russia. As Arts Manager in Turkey in 2007 Louise
developed and delivered a colloquium and creative educa-
tion programme in partnership with the BBC Symphony
Orchestra and made a successful bid for EU funding for
the Cultural Bridges creative programme. Louise currently
leads the British Council’s Arts and Creative Economy
programme for Wales to develop international opportuni-
ties, working closely with Welsh Assembly Government,
National Assembly for Wales, Arts Council Wales, Wales
Arts International and other agencies in Wales. She is cur-
rently advising on a British Council product focusing on
Research and Innovation.
Louise has an MA in Fine Art from Chelsea College of
Art and Design, London.

University
of Wales,
Newport
School of Art, Media and Design
The School of Art, Media and Design has a long history of research
success, and is a founding partner of the Wales Institute for Research in
Art and Design (WIRAD). The School can trace its roots back to the
formation of the Newport Mechanics Institute in 1841. As Newport
College of Art, it was one of the first art colleges in the UK to offer
honours degrees in Fine Art and Graphic Design. Since that time, and
as a major School within the University of Wales, Newport, it has built
a reputation for innovative creative practice and excellence in research,
extending an international reputation for photography research and
practice into research across art and design.
Home to more than twenty PhD students and two Leverhulme post-
doctoral researchers, AMD research is central to the school’s identity.
It provides the raw material and context for our taught programmes at
both undergraduate and postgraduate levels. It also has an important
economic function, and the intellectual capital created by our research
and scholarship underpins Third Mission activities, which actively
contribute to the economic regeneration of Wales.
We therefore aim to sustain and develop further a vibrant and
significant research practice, drawing on and contributing to the
creative possibilities offered by contemporary technological culture.
Our research ethos is grounded in the practice and discourse of the
field as realised, reasoned, critiqued and theorised by current high-level
practitioners operating at the highest national and international levels.
University of Wales, Newport 5
Mae gan yr Ysgol Gelf, y Cyfryngau a Dylunio hanes maith o lwyddiant
mewn gwaith ymchwil, ac mae’n un o sylfaenwyr Sefydliad Cymru ar
gyfer Ymchwil mewn Celf a Dylunio (WIRAD). Gall yr Ysgol olrhain
ei gwreiddiau yn ôl at sefydlu Athrofa Peirianwyr Casnewydd ym 1841.
Fel Coleg Celf Casnewydd, ef oedd un o’r colegau celf cyntaf yn y DU
i gynnig gradd anrhydedd mewn Celfyddyd Gain a Dylunio Graffig.
Ers hynny, ac fel Ysgol o sylwedd o fewn Prifysgol Cymru, Casnewydd,
mae wedi adeiladu enw am arfer creadigol arloesol a rhagoriaeth
mewn ymchwil, gan ehangu ei bri rhyngwladol am ymchwil ym maes
ffotograffiaeth i gynnwys ymchwil mewn celf a dylunio.
Mae’r Ysgol yn gartref i fwy nag ugain o fyfyrwyr PhD a dau
ymchwilydd ôl-ddoethurol Leverhulme ac mae ymchwil celf a
dylunio yn ganolog i’w hunaniaeth. Mae’n darparu’r defnyddiau crai
a’r cyd-destun ar gyfer ein rhaglenni addysgu ar lefelau is-raddedig ac
ôl-raddedig. Mae ganddi swyddogaeth economaidd bwysig hefyd,
ac mae’r cyfalaf deallusol a greir gan ein hymchwil a’n hysgolheictod
yn sail i weithgareddau Trydedd Cenhadaeth sydd yn cyfrannu’n
weithredol at adfywiad economaidd Cymru.
Ein nod felly yw cynnal a datblygu ymhellach arfer ymchwil egnïol a
phwysig, a fydd yn elwa ar ac yn cyfrannu at y posibiliadau creadigol
a gynigir gan ddiwylliant technolegol cyfoes. Mae ethos ein gwaith
ymchwil wedi ei wreiddio yn arfer a disgwrs y maes, sy’n cael ei
wireddu, ei ymresymu, ei ddadansoddi’n feirniadol a’i ddamcaniaethu
gan ymarferwyr cyfoes dawnus sy’n gweithredu ar y lefelau
cenedlaethol a rhyngwladol uchaf.
6 University of Wales, Newport // Research Groups
research groups
the european centre for photographic research (ecpr)
Helen Sear, from
the series Spot 3,
Lambda print, 2003
the performance & screen media research group (psmrg)
The Performance and Screen Media Research Group
(PSMRG) is a truly interdisciplinary group, with its mem-
bership drawn from the full range of academic and practice
backgrounds in the School of Art, Media and Design. The
group includes the theoretical areas of film studies, media
studies, theatre studies, animation studies and cultural
studies, and theatre practice, film practice and animation
practice. Key interests include performance in all forms of
screen media (both more traditional and interactive), screen
media consumption practices, remediation and adaptation
across media, the limits and possibilities of narrative across
screen media, formal experiment and the avant-garde, as
well as the production of theoretically informed innovative
short film, digital artefacts and animation.
PSMRG goes far beyond traditional disciplinary
research to also engage in the study of, and production
of, those screen artefacts that can be considered mar-
synergy computer games design research group
Synergy Computer Games Design Research Group engages
in practice-based and theoretical research into the creative
aspects of computer game form and related interactive
moving image media. It draws on the established prac-
tice and experience of internationally recognized games
designers, producers and theorists to explore, and exploit,
the intersection between games and our understanding of
other artforms.
Synergy seeks to explore (through play), critique
(through theory) and expand (through practice) the nature
of the gaming experience. The purpose of our project-led
activity is to extend the reach of game form to a wider audi-
smart clothes and wearable technology research centre
Informed by advances in the application of technical tex-
tiles, micro-technologies and new manufacturing tech-
niques, this multi-disciplinary team is developing a shared
language through collaboration in the research and devel-
opment of innovative smart clothing that addresses end-
user needs from technical, aesthetic and cultural view
points. The Centre, led by Jane McCann, has also been
successful in attracting major research funding for a three
year project under the UK’s joint research council’s New
Dynamics of Ageing Programme, Design for Ageing Well:
Improving the Quality of Life for the Ageing Population
The European Centre for Photographic Research (eCPR)
was established in 2000, and assumed its current title in
2008. With a substantial network of European links, eCPR
supports work that engages with the cultural histories of
photography and a range of contemporary debates. Col-
laborative research is a vital part of the Centre’s work and
we have institutional partners in France, Belgium, Portugal,
Greece, Holland, Italy and the Czech Republic, as well as a
number of organisations across the UK.
Under the unifying theme Photography at The Borders,
eCPR fosters lively and experimental engagements with
photography as an expanding field of inter-disciplinary
research. Photography at the Borders acknowledges the
perceived boundaries of the photograph and contests
them through a range of research projects. Encompassing
art, documentary and fashion photography, curating and
criticism, eCPR’s diverse range of interests and expertise
uniquely positions the Centre to address photography’s
multiple and shifting forms.
ginal to any focus on live action cinema. This includes a
concern with popular culture and screen media, and with
far more experimental work. We are seeking to exploit the
new knowledge and insight that can result from working
across disciplines and traditions, and harness the creative
potential of engaging in a dialogue with colleagues with a
different critical apparatus and practice toolset. PSMRG is
also the home to smaller research groupings in the areas of
digital games and documentary filmmaking.
potential research projects:
PSMRG is keen to develop projects through its subsidiary re-
search groups and across screen media generally that investigate
questions of practice, culture and consumption, and provide
concrete examples of the interchange between theory and
practice.
contact: Dr Barry Atkins barry.atkins@newport.ac.uk
ence. Our goal is to initiate and conduct novel and innova-
tive research that explores and shares new visions of games
and game play.
potential research projects:
1. Novel control methodologies for digital game play.
2. The exploration of procedural animation and associated
control methods.
3. Experimental game forms, and the relationship between art
and gallery games practice and the commercial industry.
contact: Dr Barry Atkins barry.atkins@newport.ac.uk
Using a Technology Enabled Garment System. The team
at Newport is collaborating with Co-Investigators from
the University of Westminster, the University of Salford,
the University of Ulster and the University of Brighton.
This team, and project consultants, will be supported by an
Advisory Group made up of industrial partners and trade
networks.
contact: Jane McCann jane.mccann@newport.ac.uk
eCPR’s activity involves conferences, symposia,
research seminars, publications, exhibitions and curating.
potential research projects:
1. Curatorial practice as research; the cultural diversity of
photography in Wales; museums & libraries without walls;
contemporary art, the archive and historical consciousness
Contact: russell.roberts@newport.ac.uk
2. Disruptive and antagonistic art practices; consumer cul-
ture; video art
Contact: mark.durden@newport.ac.uk
3. Dialogues between myth and technology, nature and cul-
ture, in relation to landscape and the feminine
Contact: helen.sear@newport.ac.uk
contact: Professor Mark Durden,
mark.durden@newport.ac.uk
Florence Ayisi,
Sisters in Law, 2010
the documentary practice
research group
The Documentary Practice Research Group is located
within International Film School Wales. The members of
the group are engaged in a variety of audio-visual practice-
based and text-based research activities in documentary
practice; using a diverse range of documentary modes of
inquiring various aspects of Social, Economic, Political and
Cultural life in a variety of geographical spaces and con-
texts – locally, nationally and internationally.
potential research projects:
Members are keen to pursue research in the following areas: city-
scapes; new visions of women; community, memory & Identity;
religion and children; first person narratives, oral storytelling;
avant-garde documentary, political documentary; women’s his-
tory in motion, animated documentary.
contact: Florence Ayisi florence.ayisi@newport.ac.uk
potential research projects:
1. The development of a new inter-disciplinary shared lan-
guage for researchers across the area of smart clothes and
wearable technology.
2. Within realistic commercial constraints, the design of smart
clothing that leads to products that work, look attractive
and are highly usable.
3. The role of wearable technology and how it can be
deployed to create near market prototypes, examining
motivations and commercial possibilities, in areas such as
sport and fitness, corporate wear and inclusive design.

research active staff
dr barry atkins, Associate Dean, Research and Enterprise.
His research interests focus on games aesthetics and questions of
textual pleasure, and has published a number of articles on games
narrative and aesthetics. He founded the Performance and Screen
Media Research Group. barry.atkins@newport.ac.uk
Geraint Cunnick, Head of Department – Fine Art & Photog-
raphy. In the last 15 years his practice has shifted from fine art
to commercial concerns with a continued interest in constructed
narrative and tableaux. His work has been exhibited at the Saatchi
Gallery and The Photographers’ Gallery, London. Current
research is concerned with the dissemination of contemporary
photographic and art practice through the medium of Welsh.
professor mark durden, Head of eCPR. Mark has an estab-
lished reputation as a writer on photography and has published
over a hundred reviews and essays. Mark is also an artist. Since
1996, as part of the artists’ group Common Culture he has exhib-
ited regularly both nationally and internationally.
mark.durden@newport.ac.uk
Left: Jo Longhurst, Work in
Progress, 2010
Above: Ken Grant, Untitled, 2010
Below: Mark Durden, still from
video, Openings are always awkward,
2009
florence ayisi is Reader in Film Practice at the International
Film School Wales. She has interests in both theory and practice
aspects of film, and is an award winning film maker. Her research
interests include Representations of Africa in the media, African
Cinema Audiences, African Women and Cinema and the role of
Digital Video in Community Development. She co-founded the
Documentary Practice Research Group.
florence.ayisi@newport.ac.uk
russell roberts is Reader in Photography within the Euro-
pean Centre for Photographic Research. He is a curator and
writer on art and photography with a profile of work with national
and international museums and galleries. Interests include the
representation of history; artists and archives; collecting prac-
tices; curatorial strategies; the cultural diversity of photography.
russell.roberts@newport.ac.uk
dr helen sear, Reader in Photography and Fine Art Prac-
tice. Working with predominantly lens-based media, installation,
and photography, her research into relationships between, vision,
touch and surface, combines hybrid processes that disrupt con-
University of Wales, Newport // Research Active Staff 7
ventional photographic perspective. As a practicing artist she is
concerned with the relationships between mythology and tech-
nology, nature and culture, and an ongoing re-examination of
landscape in relation to the feminine. helen.sear@newport.ac.uk
dr andy smith, Academic Leader, Performance. Smith has
published internationally in various book chapters, essays and
journal articles in theatre criticism and theory and is currently co-
running a three-year funded research project exploring the peda-
gogy of Screen Acting and Directing. andy.smith@newport.ac.uk
dr ian walker, Reader in the History of Photography. In the
past few years, Walker’s academic research has mainly focused on
the relationship between Documentary Photography and Surre-
alism. ian.walker@newport.ac.uk
peter bobby, Senior Lecturer, Photographic Art. Bobby has
exhibited at a number of galleries both in the UK and Europe,
including Ffotogallery in Cardiff who published his first mono-
graph, ‘Reception’ in 2003. peter.bobby@newport.ac.uk
8 University of Wales, Newport // Research Active Staff
richard clegg, Course Leader for BA (Hons) Photography
for Fashion & Advertising. Clegg’s current research explores
visual associations between religion, aesthetics and photography
to reflect on gender and race. richard.clegg@newport.ac.uk
ronnie close, Senior Lecturer, Photographic Art, has been
developing a body of work since 2004 as part of a practice-led
PhD research project that looks at the formation of historical nar-
rative. His background is in both academic and the professional
photographic fields and he has developed an integrated approach
to theory and practice in contemporary photographic media.
ronnie.close@newport.ac.uk
philip cowan, Senior Lecturer, Film and Video. Cowan has
worked on over 80 productions, including; Drama, Documen-
tary, Performance, and Animation projects, working for BBC,
ITV, C4, S4C, and numerous independent companies. He is cur-
rently undertaking a PhD on cinematography.
philip.cowan@newport.ac.uk
lei cox, Academic Leader, Fine Art and Foundation, is an
installation artist, photographer and music composer who also
works in broadcast media. lei.cox@newport.ac.uk
jason evans, Senior Lecturer, Photography for Fashion and
Advertising. Evans is a multi-disciplinary photographer whose
tenuously interlinked work includes portraiture, curation, sculp-
ture, record sleeves, street photography, web based projects and
writing. His research interests include contemporary Japanese
photo books and the lost opportunity of Fashion photography.
Further information at www.jasonevans.info.
jason.evans@newport.ac.uk
dr alexander graf, Senior Lecturer, Film and Video. Graf
has published widely on European cinema, including a mono-
graph on the German director Wim Wenders (Wallflower
Press, London 2002) and writing on Lars von Trier’s 2003 Film
DOGVILLE, as well as developing a theory of avant-garde film.
His current research interests are avant-garde and experimental
film and video, and audiovisual sound aesthetics.
alexander.graf@newport.ac.uk
ken grant, Programme Leader, Documentary Photogra-
phy. Grant’s work is held in major public and private collections,
including those of the Museum of Modern Art, New York and the
Portland Art Museum. He has worked on long term, over-lapping
projects since the 1980s and is currently undertaking a project on
the social landscape of Hereford. ken.grant@newport.ac.uk
dr coral houtman, Senior Lecturer, Film and Video, is a
fiction filmmaker and theorist particularly interested in integrat-
ing theory and practice in her research. Her current research
areas are: narrative theory, gender, psychoanalysis, performance
theory, film form and style together with scriptwriting and direct-
ing. coral.houtman@newport.ac.uk
richard hurford, Senior Lecturer, Computer Games Design.
Hurford is currently studying for a PhD in design processes for
convergent technologies, with specific focus on smart clothes and
wearable technology product and service development. Identify-
ing problems within the design process and suggesting potential
remedies. His work has relevance out side of the smart clothes and
wearable technology area, guiding advance product development
between industry sectors, which have not traditionally worked
together. richard.hurford1@newport.ac.uk
celia jackson, Programme Leader, MA/MFA Printmaking.
Jackson’s practice explores the format of the artist’s and/or altered
book. Celia Jackson’s current research project seeks to problema-
tise the hegemony within our culture of the visual image, using
the artist’s book as a paradigm, and to address issues around
the ‘white cube’ gallery space by creating exhibitions for display
in non-traditional venues, including, for example, the reference
library and the internet. celia.jackson@newport.ac.uk
clive landen, Senior Lecturer, Documentary Photography.
Landen’s research reflects an engagement with the animal world
and our unique relationship to it. In pursuing his interest he has
produced several bodies of work that attempts to address this fas-
cination. clive.landen@newport.ac.uk
eileen little, Senior Lecturer, Photographic Art. Little’s prac-
tice is concerned with Subjectivity, Narrative and History through
image/text work that takes various final forms: installation, book-
work and multi-media. eileen.little@newport.ac.uk
jo longhurst is Leverhulme Fellow at the European Centre
for Photographic Research. Her current long-term project,
Perfect, is an interrogation of the process of training, exploring
the physical and emotional experiences of elite gymnasts and
coaches. I will develop my interest in perfection by tackling it
from this new perspective. I also want to expand my photographic
practice to incorporate the use of time-based media and appropri-
ated images. jo.longhurst@newport.ac.uk
matthew lovett, Programme Leader for Creative Sound and
Music. As a performer and composer, his interests include experi-
mental, electronic, improvised, popular and traditional musical
forms. His current research includes aesthetics, critical theory
and political economy in relation to contemporary music prac-
tice. matthew.lovett@newport.ac.uk
dr kieran lyons, Programme Leader, Fine Art, completed
a PhD thesis that considered the implications of militarism in
France and its influence on Marcel Duchamp, appearing first in
his text ‘The Jura-Paris road’ and then resurfacing in his practice
1912 - 1915. This continued as a discernible preoccupation in
his work until 1945, and Lyons continues to explore this area.
kieran.lyons@newport.ac.uk
james manning, Senior Lecturer in Animation. Developing
upon his extensive experience as a CG animated film-maker, his
research focuses on developing the relationship between move-
ment analysis techniques and animated character performance.
james.manning@newport.ac.uk
adam martin, Programme Leader, Interactive Media. Martin
is currently studying for a PhD in user interfaces and interaction
design for mobile and wearable technologies and has co-authored
papers published within the IEEE proceedings from the ‘Inter-
national Symposium on Wearable Computers’. He is actively
engaged with ongoing academic and commercial research within
the art school and has recently developed a proof-of-concept
location-based gaming platform. adam.martin@newport.ac.uk
jane mccann, Director of the Smart Clothes and Wearable
Technology (SCWT) Research Group. McCann gained an
international reputation as a leading authority on the subject
of performance sportswear. Her focus has been on establishing
an academic community that can break down barriers between
design and science subject areas such as textiles, fashion, graphic
and product design and those in the spheres of human biology,
information technology, contextual studies and marketing.
jane.mccann@newport.ac.uk
corrado morgana, Senior Lecturer, Computer Games
Design. Morgana is a media artist, electronic musician and
researcher. His research examines arts and videogames crossover
practice, specifically transgressive and subversive production
within existing game engines. corrado.morgana@newport.ac.uk
christopher morris, Head of the International Film School,
Wales. Morris is an award winning documentary film maker who
has won the Premios Ondas, RTS and BAFTA awards and prizes
at the Celtic, Berlin and Chicago film festivals. His recent film
(‘An American In Aberfan’, BBC Wales 2006), made in collabora-
tion with the internationally recognised artist Shimon Attie is a
film to mark the 40th anniversary of the Aberfan disaster.
chris.morris1@newport.ac.uk
magali nougarède, Senior Lecturer, Photographic Art.
Nougarède’s current research focuses on the study of “Fabric” as
a cultural intermeshing between personal history, memory and
psychoanalysis and on the role that photography and other visual
arts play in conferring symbolic value. In an age where our rela-
tionship to the world is increasingly virtual, and with consider-
ation to the central role that digital photography plays in this, the
tactility of textiles offers an interesting counterpoint.
magali.nougarede@newport.ac.uk
caroline parsons, Programme Leader, MA Animation. Par-
son’s research interests centre around the impact of new technol-
ogy on film spectatorship and photorealistic digitally created or
enhanced bodies, where the viewer is no longer able to differen-
tiate between live action and cartoon, between what is real and
what is not real. caroline.parsons@newport.ac.uk
alise piebalga, Senior Lecturer in Fine Art. Piebalga’s research
pivots around six closely related, but identifiable subject areas:
new media art, the nature of human and the nature of technol-
ogy, constructs of artificiality, ambiguity in perception and seeing
humans and technology as osmotic, open and syncretic systems.
alise.piebalga2@newport.ac.uk
paul reas, Senior Lecturer, Documentary Photography, has
exhibited widely, both nationally and internationally, and his work
has been included in many major survey exhibitions of British
Photography. He has published two books, I Can Help‚ and Flog-
ging A Dead Horse; he is currently working on a series of street
photographs commissioned by Southwark Council and London
College of Communication. paul.reas@newport.ac.uk
andreas rüthi, Senior Lecturer, Fine Art. Rüthi’s still life
paintings in oil form a developing series. Their references and
associations show a wry humour, a dialogue with art history as
with the nature of reproduction and repetition: but the logic of
the procedure suggests a kinship with forms of abstraction, and
with conceptual art in its classic concern with time.
andreas.ruethi@newport.ac.uk
jane simon is Leverhulme Fellow at the European Centre for
Photographic Research. She has a PhD in Gender and Cultural
Studies from the the University of Sydney. Her research examines
contemporary visual practice across the disciplinary boundaries
of film and media studies, art history and cultural studies. Jane’s
writing and art practice is compelled by domestic objects and
architectural minutiae and she works with photography and book
arts. Her articles have been published articles in Continuum, Cul-
tural Studies Review and Media/Culture.
jane.simon@newport.ac.uk
dr katy stevens is a researcher in technical textiles and design.
Her research interests include the uses of technical fabrics and
innovative design in performance and technical clothing.
katy.stevens@newport.ac.uk
roger wooster, Senior Lecturer in Performing Arts. Woost-
er’s research into the state of Theatre in Education in Wales formed
the basis of his book, Contemporary Theatre in Education which
was published in 2007 and is widely used in Applied Drama
courses. Recent research interests include training methodologies
for actors and the relationship between audience, celebrity and
performance as expressed through gesture and fashion.
roger.wooster@newport.ac.uk
dr brigitta zics, Programme Leader, MA/MFA Design by
Practice. Her main research interest research lies in investigations
of human behaviour in technological amplified environments. It
focuses on emerging technologies of interaction and their aes-
thetics capacities through human cognition. She is developing
technological implements and interfaces with the intention of
creating agency for new experiences of the user of her work.
brigitta.zics@newport.ac.uk

University
of Wales
Institute,
Cardiff
Art & design research at UWIC is focused in two areas: Cardiff School of Art &
Design and the National Centre for Product Design & Development Research.
Cardiff School of Art and Design (CSAD) was founded more than 140 years ago.
A founder member of WIRAD, the School’s record of art and design research and
scholarly activity is also long standing.
CSAD has an active and supportive research environment and significant
expertise in the various ways in which art and design practice can contribute
to knowledge. Particular areas of strength include Ceramics, Fine Art, Art
Theory, Interaction Design, Inclusive Design, Textiles, Architecture and Creative
Pedagogical Practice. The School’s approaches to research, enterprise and learning
& teaching are mutually supporting, and staff are actively encouraged to ensure that
each activity has significant cross over with each of the others. Our students at all
levels are thereby well positioned to benefit from an enlightened and informed staff
whose research and enterprise activities directly benefit them.
The School has a thriving and rapidly expanding research student community.
We promote interdisciplinary research with other fields of practice or enquiry, for
example Computer Science, Psychology and History and our research is largely
contained within centres and clusters. These include: the Centre for Fine Art
Research, the Centre for Ceramics Research, Creative Teaching and Teaching
Creatively, Ecological Built Environment Research and Enterprise and the Digital
Textiles research group, DIGIT.
Activity in the National Centre for Product Design & Development Research
(PDR) focuses on the following areas of research: Interactive prototyping of
computer embedded systems; Design policy; Design management, particularly in
SMEs; User-centred design, Medical applications of product design technology.
The Centre has an extensive contract research portfolio and has developed over
500 product for commercial companies and has won ten international design
awards. PDR is one of the UK’s largest contributors to the Knowledge Transfer
Partnership (KTP) scheme and has completed over 25 KTP programmes with a
wide range of companies.
University of Wales Institute, Cardiff 9
Mae ymchwil celf a dylunio yn APCC wedi’i ganoli mewn dau le: Ysgol Gelf a
Dylunio Caerdydd a Chanolfan Genedlaethol Ymchwil i Ddylunio a Datblygu
Cynhyrchion. Sefydlwyd Ysgol Gelf a Dylunio Caerdydd fwy na 140 o
flynyddoedd yn ôl. Mae gan yr Ysgol, un o sylfaenwyr WIRAD, hanes maith o
ymchwil ac ysgolheictod ym maes celf a dylunio.
Mae ganddi amgylchedd ymchwil bywiog a chefnogol a chryn arbenigedd
yn y gwahanol ffyrdd y gall arfer celf a dylunio gyfrannu at wybodaeth. Mae’r
meysydd lle mae’n arbennig o gryf yn cynnwys Cerameg, Celfyddyd Gain, Theori
Celfyddyd, Dylunio Rhyngweithiol, Dylunio Cynhwysol, Tecstilau, Pensaernïaeth
ac Arfer Addysgol Creadigol. Mae dulliau’r Ysgol o fynd ati i ymchwilio, cynnal
menter a dysgu ac addysgu yn gyd-gefnogol, ac anogir staff i sicrhau bod pob
gweithgaredd yn gorgyffwrdd yn sylweddol â’r gweddill. Mae ein myfyrwyr
ar bob lefel felly mewn safle da i elwa ar staff goleuedig a gwybodus y mae eu
gweithgareddau ymchwil a menter o fudd uniongyrchol iddynt.
Mae gan yr Ysgol gymuned myfyrwyr ymchwil lewyrchus, sy’n prysur ehangu.
Rydym yn hybu gwaith ymchwil rhyngddisgyblaethol gyda meysydd arfer neu
ddysg eraill, er enghraifft, Cyfrifiadureg, Seicoleg, a Hanes, ac mae ein hymchwil
yn digwydd yn bennaf o fewn canolfannau a chlystyrau, yn cynnwys y Ganolfan
Ymchwil Celfyddyd Gain, y Canolfan Ymchwil Cerameg, Addysgu i Greu ac
Addysgu’n Greadigol, Ymchwil a Menter Amgylchedd Adeiledig Ecolegol, a
DIGIT, y grŵp ymchwil Tecstilau Digidol.
Mae gweithgaredd y Ganolfan Ymchwil Dylunio a Datblygu Cynhyrchion
Genedlaethol (PDR) yn canolbwyntio ar y meysydd ymchwil canlynol:
prototeipio rhyngweithiol systemau cyfrifiadurol dynodedig; polisi dylunio; rheoli
dylunio, yn enwedig mewn cwmnïau SME; dylunio i’r defnyddiwr; defnyddiau
meddygol technoleg dylunio cynhyrchion. Mae portffolio ymchwil dan gontract
eang gan y Ganolfan ac mae wedi datblygu mwy na 500 o nwyddau ar gyfer
cwmnïau masnachol ac wedi ennill 10 gwobr ddylunio ryngwladol. PDR yw un
o gyfranwyr mwyaf y DU i’r cynllun Partneriaethau Trosglwyddo Gwybodaeth
(KTP) ac mae wedi cwblhau mwy na 25 o raglenni KTP gydag ystod eang o
gwmniau.
10 University of Wales Institute, Cardiff // Research at CSAD

research at csad
centre for fine art research (cfar)
Centre for Fine Art Research (CFAR) provides a coher-
ent and ambitious programme around Fine Art research.
It exists to encourage and support interdisciplinary, cross-
School and inter-Institutional research initiatives in a sup-
portive environment that encourages research activity at
all levels. Groups and individuals within the centre have
secured over £250K and the centre is home to four Readers
and a Professor.
CFAR’s research interests include painting, sculpture,
printmaking, time-based and performance, new media, art
history and aesthetics.
contact: ccazeaux@uwic.ac.uk,
http://csad.uwic.ac.uk/cfar/
research themes:
1. ‘Art practice as research?’: CFAR has addressed this ques-
tion in a number of meetings and is in the process of devel-
oping an exhibition and conference that has this question
as its point of focus; collaborators in both aspects of the
project are welcome and will be actively sought.
2. ‘The integration of art-science-philosophy’: to explore ways
in which these three traditionally distinct areas of human
knowledge and activity can be successfully integrated, and
how this might lead to the production of new knowledge.
3. ‘The Post-Industrial Shorelines of South Wales’: a series of
photographic essays that establish ways in which the coast
of South Wales manifests a post-industrial and new leisure
economy; this is at the pilot project stage, and is intended
to draw in other researchers across the region.

Saturday C Landscape

sensory design: reactive colours digit

Sensory Design: Reactive Colours researchers explore
the potential of technologies, from traditional everyday
desktop interfaces to bespoke, custom-made prototypes
using found objects, to foster inclusivity and playfulness
among young people for all ages with and without devel-
opmental delays. The research that underpins our work
is drawn from interests and practical experience in anima-
tion, phenomenology, human-computer interaction, wear-
able technologies and interface aesthetics. The successful
application of the theories and concepts that inform our
research has evolved through an agile process of partici-
patory design, implemented throughout the design and
development lifecycle.
Inspiration for our work has been drawn from the oppor-
tunity to collaborate directly with children and those who
support them, through partnerships with Autism Cymru,
the Dyscovery Centre and Ysgolian Muddian Meithrin.
The findings from our work have been presented and pub-
lished internationally. The most successful outcome to date
has been ReacTickles, a software application aimed at chil-
dren on the autism spectrum.
potential projects/themes:
1. Research, recreation and rehabilitation: We are inter-
ested in applied research that uncovers new thinking
on the playful, phenomenological and kinesthetic pos-
sibilities for interaction design; our goal is to empower
end users to enact and express themselves without fear
or judgment.
2. Ethical participatory design: We are concerned with
the evolution of imaginative and ethical relationships
between designer and user throughout a project life-
cycle, including the design of techniques for transfer-
ring findings of user studies to other designers and
team members (communication) and opportunities
to discover novel and practical models for translating
design ideas into a form that can encourage further
user participation (ideation)
contact: wkbright@uwic.ac.uk
aims
To research the ways traditional methods of making in tex-
tiles may interface with digital textile practices; to analyse
the impact this has upon creativity and innovation; and to
disseminate the findings widely to the field.
objectives
1. To exhibit relevant research to launch CSAD Textile
Research Group.
2. To foster and develop collaborations with other insti-
tutes, nationally and internationally.
3. To analytically review traditional textile design tech-
niques.
4. To investigate traditional and contemporary digital
techniques.
5. Explore the boundaries of relevant digital technolo-
gies, recording associated hand, machine and CAD/
CAM experimentation.
6. Produce collection of textile artwork for exhibition.
7. To communicate and publish current and future
research developments.

contact: kcanavan@uwic.ac.uk
 University of Wales Institute, Cardiff // Research Active Staff 11
centre for research in ceramics (crc)
The relationship between ceramics and sculpture is an important research theme at Cardiff,
as developed by Dr Jeffrey Jones, currently a Research Fellow at the Henry Moore Institute,
Leeds. An exhibition at the HMI beginning September 2010 brings to fruition one strand
of the project and the research continues through the work of a doctoral student.
The recording of ceramics through film and video, and colour in ceramics are other
key research interests which are being pursued at PhD level, with the research facilitated
through fully funded bursary awards.
Researchers at Cardiff work collaboratively with the Ceramic Collection and Archive
at Aberystwyth University under the aegis of The National Centre for Ceramics in Wales.
Staff have been jointly involved in research projects such as the organisation of conferences
and the electronic publication of research material online through the journal Interpreting
Ceramics. Joint supervision schemes for PhD students are being piloted.

current and potential research projects:

1. Ceramics and Sculpture: identifying and clarifying relationships between the respective disci-
plines in terms of recent history, contemporary art and curatorial practice.
2. Recording and interpreting contemporary ceramics practice: exploring appropriate and effec-
tive methods of documenting and analyzing artists’ practice in the medium of ceramics, and
communicating results and findings. 5. Ceramics Education: development of strategies, structures and methods for
doctoral and postdoctoral research where elements of creative practice are fore-
3. Kilns and firing: identifying and interpreting the activity of kiln building and firing across a grounded.
range of cultural, historical and contemporary examples.
4. Colour and tone in ceramics: investigating the ways that the perceptual and illusory proper-
ties of colour and tone can be understood, manipulated and exploited in the creation of contact: jcjones@uwic.ac.uk
ceramic artworks.

meat
MeAT research is lead by a philosophical discourse centred
about embodied interaction. We imagine and make theo-
retical and practical experiments that explore how technol-
ogy is enacted as a component of the soma. We also develop
strategies for the implementation of enactive technologies
and collaborate in our research with Transtechnology :
University of Plymouth.
We believe that too much interaction design research
has taken a philosophical and theoretical stance that analy-
ses digitally driven systems by means of a rather narrow
understanding of sociological or psychological determi-
nants. MeAT’s approach is to seek a revisionist metade-
sign that is sufficiently subtle in its terms to engage with
the complexity of future discussions of the distributed and
enacted human.
research themes:
M : Metaphysics
We are concerned to use design to explore the nature of being
in the world, of consciousness and the aesthetic of being. We
understand this exploration to be a contemporary form of
natural philosophy, respecting the tenets of scientific rationalism
while seeking to reclaim some of the rapturous potential of the
pre-scientific mind.
e : embodiment
We hold that the soma (in its widest terms) can be most produc-
tively understood by designers in terms of a contingent and gen-
erative territory that simultaneously transcends and incorporates
the organic and inorganic in a poetic interplay.
A : Aesthetics
Our design exploration resides in the axiological anticipation
and analysis of the creative potential of human interventions in
the world. We seek, by means of design, to extend, refine and
redefine these interventions in a manner that has resonance with
the poetic trajectory of our species.
T : Technology
We are concerned to use design to explore the potentials of a
fluid understanding of technology as both a paradigm and as
an instance. Through design we believe we can seek a means
of affording and facilitating a creative, sustainable and poetic
aesthetic of being through technological means.
contact: asmorgan@uwic.ac.uk

research active staff

centre for fine art research (cfar)
dr clive cazeaux My research lies in three areas: metaphor in
aesthetics and the theory of knowledge; the relation between art
and knowledge, and between art and science; ecological aesthet-
ics and listening as responses to dualistic subject–object thought.
ccazeaux@uwic.ac.uk 029 2041 6680
dr jonathan clarkson Clarkson’s research interests include
John Constable, the history of landscape painting, psychoanalysis
and theories of representation. jclarkson@uwic.ac.uk
029 2041 6664
david ferry Research: British Modernism/ Jo Orton/ and pho-
tomontage. dferry@uwic.ac.uk / daviddferry@hotmail.com 029
2041 6686 / 07876407266
stewart geddes A Settlement Between the Pastoral Landscape
Tradition and an Urban Centric World: Peter Lanyon’s late ‘Clev-
edon Suite’ of paintings. stewart@stewartgeddes.com 029 2041
6658 / 07985 440324
rona lee Conceptually and thematically I am especially inter-
ested in the possibilities offered buy the ‘fluid’ (shifting and inde-
terminate ) to ‘dissolve’ such binary oppositions as dark and
light, order and chaos, known and uncertain.
rlee@uwic.ac.uk www.ronalee.co.uk
dr robert pepperell. Robert Pepperell is researching the
relationship between art, science and philosophy, and how art can
help us to understand the nature of human consciousness.
rpepperell@uwic.ac.uk http://www.robertpepperell.com
029 2041 6622
simon pope’s research interest lies in the ways that being-to-
gether can be explored through walking together and how this
might provide new insights into engagements with ‘landscape’.
SPope@uwic.ac.uk, si.pope@gmail.com, 029 2041 6666
dr chris short There are two principal strands to my research:
the art theory and practice of Wassily Kandinsky, and a photo-
graphic quest to uncover ‘the order of things’; these two strands
are interconnected. cshort@uwic.ac.uk, 029 2041 6967
professor andre stitt Born in Belfast, N. Ireland, Stitt is con-
sidered one of Europe’s foremost performance and interdisciplin-
ary artists. He has worked as an experimental artist since 1976
creating hundreds of unique works at major galleries, festivals,
alternative venues and sites specific throughout the world.
astitt@uwic.ac.uk, tracegallery@aol.com, www.andrestitt.com,
029 2041 6616
richard waring Still life now, can it be relevant to the contem-
porary painter? rwaring@uwic.ac.uk, 029 2041 6689,
07754 966373
other cfar members include:
Malcom Bennett, Nigel Bowles, Dallas Collins, Richard Cox,
Annie Giles-Hobbs, Mark Halliday, Sue Hunt, Cecile Johnson-
Soliz, Allan Jones, Dafydd Jones, Julian Kelly, Chris Lloyd, Luke
Mintow-Czyz, Philip Nicol, Neil Pedder, Cherry Pickles, Louise
Short, Nigel Williams

paul granjon researches aspects of the co-evolution of humans

and machines through a visual art practice based on performance
and robotics. pgranjon@uwic.ac.uk 029 2041 6624
12 University of Wales Institute, Cardiff // Research Active Staff
digit
dr keireine canavan Specialising in the oral history of declin-
ing tribal textile skills, to record and document fading memories
and to preserve traditional weaving methods, symbolic patterns
and designs with Kuwaiti Bedouin AlSadu weavers, Patola Ikat
weavers of Gujarat India, and Iban Dayaks Warp Ikat weavers in
Borneo Malaysia; messaging tribal lifestyle, their environment,
and the emphasis of symmetry, in order to reintroduce skills and
cultural awareness, educate the modern generations within fast
developing societies, and to prevent further loss.
kcanavan@uwic.ac.uk, http://www.alsaduweaving.wordpress.
com, kcanavan@uwic.ac.uk, 0292 041 6634/7, +965 6609 5290
dr povl larsen Larsen’s research interest is in art & crafts and
the use of digital design technologies, such as, rapid prototyping,
Computer Aided Design & Manufacture, Computer Numerical
Control (CNC) machines, eCommerce, eMarketing, mass-cust-
omisation, etc. PLarsen-pdr@uwic.ac.uk, 029 2041 6778
dr. helen long’s current area of research interest is the build-
ing, decorating and furnishing of the 19th century house, includ-
ing themes such as hand and machine processes, style and orna-
ment, class, health and nature. hlong@uwic.ac.uk,
02920416657
philip o’reilly’s research interest: Writing a paper on the work
of Josef Albers and his book ‘Inter-action of Colour, specifically
dealing with his concepts of transparency, and linking his con-
cepts to my recent ceramics. poreilly@uwic.ac.uk,
artwork.2000@uwclub.net, 0292041 6650, 020 7720 1666
christina shannon’s research interests encompass both prac-
tice based research in the field of experimental design work aimed
at the interiors market and the continuation of an investigation
into French block printed textiles used as barter in the transatlan-
tic slave trade. cshannon@uwic.ac.uk, 02920566962
dr cathy treadaway’s research investigates the use of digital
technology within creative practice and in particular the role of
the hand and hand making within the digital process. Cathy is
also Visiting Research Fellow at University of Bath, Department
of Computer Science. ctreadaway@uwic.ac.uk, 02920417014,
07816 283501
the ecological built environment
dr john littlewood, Director of EBERE. Research interests:
focused upon an Ecological Built Environment, which has three
foci; the ecological design, construction, assessment and evalu-
ation of dwellings communities; architectural technology and
science; and biodiversity and the built environment.
jlittlewood@uwic.ac.uk, 029 2041 6676
john counsell, Head of the Department of Architectural
Studies. Research interests: e-planning with 3D GIS & ad-hoc
augmentation, &location aware systems; Building Information
Modelling; Architectural design and design decision support
systems; e-Learning; heritage and heritage recording.
jcounsell@uwic.ac.uk, 029 2041 1556
tony whyman Research interests: conservation, preservation
and enhancement of the built environment and built heritage and
secondly, the teaching methodologies of architectural detailing.
Both are considered in the context of sustainable practices.
twhyman@uwic.ac.uk, 029 2041 6794
nick evans Research interests: sustainable design of buildings,
real-world validation of data produced by Building Information
Modelling software and the application of Building Informa-
tion Modelling for automated Building Regulations compliance
checking. nievans@uwic.ac.uk, 029 2041 6746
tim taylor Tim will be commencing in February 2010 to
work on the ESF funded KESS PhD project in collaboration
with United Welsh, entitled ‘A study to monitor the relationship
between fabric, building quality and thermal performance, to
determine whether low carbon design translates into low carbon
construction‘; research Interests: design, construction and use of
buildings and their intersection with the broader context of sus-
tainable development.
stephen sullivan Stephen will be commencing in March 2010
to work on the ESF funded KESS PhD project in collaboration
with United Welsh, entitled ‘A study to evaluate best practice for
dwelling sustainability and to develop and test design and con-
struction templates for dwellings to meet level 4 and 5 of the code
for sustainable homes for social housing providers in Wales’;
research interests: environmental architecture
meat
dr ashley morgan’s research interests are in phenomenologi-
cal understanding of embodiment and identity, in particular, pain,
and risk to the body, in addition to exploring ordinary experiences
of technology as artefact and the mundane aspects of everyday
uses of technology in relation to the body. asmorgan@uwic.ac.uk,
ashley@meatresearch.co.uk, 029 2041 6684
dr steve thompson Design and technology philosophy:
Consciousness studies and interaction design. Stephen’s research
extends his PhD thesis, (Artefacts, Technicity and Humanisation
: industrial design and the problem of anoetic technologies) in
his current project ‘Semiinfinitebody’ through a series of experi-
ments that play with the idea of the human as an enaction of the
distributed techsomtic field. sthompson@uwic.ac.uk,
stephen@meatresearch.co.uk, 029 2041 6380
stuart neil Education, Inclusion and the Emerging Urban Arts
sneil@uwic.ac.uk, stuart@meatresearch.co.uk, 029 2041 1548
rachel eardley The question of play between deterministic
and non-deterministic models of technology.
raeardley@uwic.ac.uk
theo humphries Technology, humour, and the problem of
social interpretation of embodied phenomena in design.
thumphries@uwic.ac.uk, theo@meatresearch.co.uk,
029 2041 7085
chris glynn’s research explores the perceived boundaries of
visual and musical language via performance, drawing and nar-
rative. cglynn@uwic.ac.uk, chris@meatresearch.co.uk, 029 2041
7085
rachel murphy is currently working on a portfolio of Jewel-
lery, questioning technology, the Environment, the Economy and
specifically exploring where craft skills such as Jewellery making
belong in a technological society.
jon piggott’s research interests in sonic media, sonic culture
and the relationship between the physical and the electro mag-
netic sound worlds. jpigott@uwic.ac.uk, jon@meatresearch.
co.uk, 029 2041 6931
fakri othman How Rotoscopy technique can contribute to
teaching handwriting for children with dyspraxia.
faothman@uwic.ac.uk
jan bennett Scientists, monsters and other allies: hybrid becom-
ings in contemporary art. jabennett@uwic.ac.uk
reactive colours
wendy keay-bright The Design of Sensory Technologies for
children with learning difficulties and/or motor impairments.
wkbright@uwic.ac.uk, wkeaybright@mac.com, 029 2041
6609/6633, 07803181488, Skype:wkeaybright
steve didcote “Wii Learn and Play” is the title of the work I
have undertaken to investigate how everyday technologies can
be utilised further to provide learning opportunities, through
play, for pre-school children. My focus within this work has been
looking at the direct understanding of how children interact with
new technologies and devices, practically that of Wii remote and
mobile phones. didstudios@googlemail.com, 0785 2255 082,
Skype: StephenDid
adam martin researches and develops novel human-computer
interfaces using mobile devices, electronic sensors, augmented
reality, location based systems and wearable technologies.
adam.martin@newport.ac.uk, 01633 432922
fakri othman How Rotoscopy technique can contribute to
teaching handwriting for children with dyspraxia.
faothman@uwic.ac.uk
crc
dr jeffrey jones, Reader in Ceramics. Research interests:
founder editor of Interpreting Ceramics electronic journal (www.
interpretingceramics.com) , author of Studio Pottery in Britain
1900 – 2005 (A&C Black 2007), convenor of ‘The Fragmented
Figure’ conference at Cardiff School of Art and Design (2005),
currently Research Fellow at the Henry Moore Institute, Leeds,
and leader of the Ceramics and Sculpture project.
jcjones@uwic.ac.uk, 029 2041 6607
michael hose, Principal Lecturer, mhose@uwic.ac.uk ,tel. 029
2041 1568. Research interests: the ways the physical properties of
ceramic materials impact upon both the making and the aesthetic
outcome, including the roles of colour and tone in influencing the
perception and reception of the resulting artworks.
peter castle, Course Director MA Ceramics, PCastle@uwic.
ac.uk, tel: 029 2041 6615. Research interests: investigation of the
impact of new technologies within studio ceramics practice and
its integration into traditional methods and procedures of manu-
facturer through innovative combinations of ceramic and print
materials and processes.
ingrid murphy, Course Director BA Hons Ceramics,
imurphy@uwic.ac.uk , tel. 029 2041 6343. Research interests:
the delivery of creativity teaching in the material arts and process
based practice, combined with ongoing research on enhanced
technological learning applied to the delivery of skills teaching.
She is also a practicing ceramic artist.
duncan ayscough, Senior Lecturer, dsyscough@uwic.ac.uk ,
tel. 029 2041 6343. Research interests lie in ceramic practice and
material sustainability; recently, this has intensified his engage-
ment with the potters wheel, exploring the interrelationship of
form and surfaces selectively exposed to carbonisation, reflecting
the values of early European ceramic cultures.
dr natasha mayo, Lecturer, nmayo@uwic.ac.uk . Research
interests are focused on the subject of contemporary figurative
ceramics and creative pedagogy; her PhD investigated the ways
in which the surface and form of the human body in figurative
ceramic sculpture can be manipulated to suggest sensations and
emotions experienced in relation to flesh and skin and recent
research into ‘Making the Creative Process Visible – Methods
in Creative Pedagogy’ (HEA funded project) has led to further
research into enhanced technological learning delivery (LTDU
funded project).

claire curneen, Lecturer, ccurneen@uwic.ac.uk . Research
interests: as one of Europe’s major artists working with the figure
through the medium of ceramics, Curneen’s artworks pursue
themes of selfless sacrifice, transcendence, purpose and platonic
love.
sara moorhouse, PhD student, samoorhouse@uwic.ac.uk,
Saramoorhouse@hotmail.com, 07793 880246. Research inter-
ests: the ways in which arrangements of colour interact and manip-
ulate spatial perception of three-dimensional ceramic forms.
alison graham, PhD student, algraham@uwic.ac.uk . Research
interests: ‘My research is concerned with the creation of illusory
depth and movement on the surface of ceramic artworks, through
the manipulation and juxtaposition of colour and glaze’.
University of Wales Institute, Cardiff // Research at PDR 13
jineui kim, PhD student, jinny_joy@hotmail.com, jikim@uwic. laura gray, PhD student, lagray@uwic.ac.uk. Research inter-
ac.uk, 07737895637. Research interests: ‘I am interested in how ests: ‘My PhD is concerned with the relationship between ceram-
surface marks and tone manipulate perception of three-dimen- ics and sculpture within the contexts of creating, collecting and
sional ceramic form.’ displaying. There is a focus is on contemporary practice in my
research, and I am specifically interested in the ‘sculptural’ quali-
leah mclaughlin, PhD student, lemclaughlin@uwic.ac.uk, ties present in ceramics that use traditional vessel forms.’
029 2041 6667. Research interests: ‘My PhD investigates how the
moving-image can reveal the interaction between ceramicist and
material. I contributed to the conference Showing Making; Rep-
resentations of Image Making in Art Ritual and Science, Amster-
dam, filmmuseum 2009’.

research at pdr
the national centre for product design research (pdr)
The National Centre for Product Design & Development
Research (PDR) is a multidisciplinary centre for product
design and development. The award winning centre offers
a complete service to industry from research and analysis
through to design, prototyping, manufacture and launch.
The centre’s research team is made up of senior and
junior researchers, research assistants and research stu-
dents. The focus of this team is on research which reflects
the strategic importance of the creative application of
design and the design process in the development of new
products, systems and methodologies.
As a result PDR has gained an enviable reputation for
the development and transfer of design knowledge and
expertise into industry. This is evidenced by the number
of products produced (over 350) for a wide range of clients
to include consumer products, automotive, medical and
defence.

research active staff

darragh murphy Research interests: design management, the
development of design management tools; from strategy identi-
fication and implementation to capability measurement, trans-
ferring design management models to new rapid manufacturing
applications. dmurphy-pdr@uwic.ac.uk
dr andy walters Research interests: user centred design, the
application of user centred design in SMEs.
awalters-pdr@uwic.ac.uk
dr povl larsen Research interests: digital design technolo-
gies in the arts and crafts sector, online mass customisation of
products in micro companies, embedding digital technologies in
crafts. plarsen-pdr@uwic.ac.uk
roger moss Research interests: Applications of digital design
technologies in art practice. rmoss-pdr@uwic.ac.uk

dr dominic eggbeer Research interests: The application of

digital technologies, art and design techniques in patient-specific
medical devices. The application of art and design techniques in
the creation of more lifelike extra-oral, body prosthetics.
14 National Library of Wales
National
Library of
Wales
Its founding document, the Royal Charter (1907, revised 2006),
specifies that the key beneficiaries of the National Library should be
those ‘engaged in research and learning’.
The Library has a long history of serving the needs of researchers in
higher education institutions in Wales, most obviously by making its
collections and expertise available to those pursuing their individual
interests. An excellent example is Peter Lord, whose monumental
trilogy The Visual Culture of Wales (1998-2002) depended critically
on his pioneering exploration of the Library’s extensive graphic
collections.
In recent years the Library has taken a more active role by cooperating
with universities in joint programmes and projects that typically
develop specific collections within the Library for research use.
Mae’r ddogfen a sefydlodd y Llyfrgell, Y Siarter Frenhinol (1907,
diwygiwyd yn 2006) yn datgan fod y Llyfrgell Genedlaethol yn bodoli
er budd y cyhoedd, gan gynnwys ‘y rhai sy’n ymroi i ymchwil a dysg’.
Mae gan y Llyfrgell hanes maith o wasanaethu anghenion ymchwilwyr
yn sefydliadau addysg uwch Cymru, yn fwyaf amlwg drwy sicrhau
fod ei chasgliadau a’i gwybodaeth arbenigol ar gael i’r rheini sydd ar
drywydd eu diddordebau unigol. Enghraifft ardderchog yw Peter
Lord, yr oedd ei drioleg anferthol, Diwylliant Gweledol Cymru (1998-
2002) yn dibynnu i raddau hollbwysig ar ei waith arloesol yn archwilio
casgliadau graffig helaeth y Llyfrgell.
Yn y blynyddoedd diwethaf, cymerodd ran fwy gweithredol trwy
gydweithredu â phrifysgolion mewn rhaglenni a phrojectau ar y
cyd sydd fel rheol yn datblygu casgliadau penodol yn y Llyfrgell at
ddefnydd ymchwil.

research projects
1. ‘The Hengwrt Chaucer’, with Sheffield and De Mont-
fort Universities
http://www.sd-editions.com/hengwrt/
2. ‘Imaging the Bible in Wales’ with the University of
Wales Lampeter and others
http://www.imagingthebible.org/wales/
3. ‘The cartoons of Leslie Illingworth’, with the Univer-
sity of Kent
http://www.llgc.org.uk/illingworth/index_s.htm
4. ‘The poems of Dafydd ap Gwilym’, with Swansea
University http://www.dafyddapgwilym.net/
5. ‘Seals in medieval Wales’, with Aberystwyth Univer-
sity
http://www.aber.ac.uk/~hstwww/research/simew.
html
6. ‘The poetry of Guto’r Glyn’, with the Centre for
Advanced Welsh and Celtic Studies http://www.
wales.ac.uk/en/CentreforAdvancedWelshCelticStud-
ies/ResearchProjects/CurrentProjects/Poetryof-
GutorGlyn/IntroductiontotheProject.aspx
The Library is always open to discussing possible projects
with higher education institutions in Wales. It already has
broad agreements with WIRAD and IMEMS (Aberystw-
yth and Bangor) and is currently developing a Memoran-
dum of Understanding with Aberystwyth University.
Often a distinctive contribution of the Library is to
create digital copies or other resources from the analogue
originals in its collections. Its digitisation facilities are
among the best in the UK and serve the Library’s internal
programme as well as externally funded projects, the largest
of which aims to digitise millions of pages of nineteenth
century newspapers and journals in Wales.
The other main asset the Library brings to joint proj-
ects with academic partners is the knowledge and skills of
its staff: experts on, among other things, medieval manu-
scripts, art history in Wales, digitisation techniques, pho-
tography, conservation, film history, archives, maps and
book history. Many have published widely in their fields.
National Library of Wales // Research Projects 15
Later in 2010 the Library will appoint the new Univer-
sity of Wales Chair in Digital Collections, probably the first
academic Chair in any national library in the world. The
post-holder will produce academic research and also work
that will benefit the Library and its users in any aspect of
the generation, care and preservation of digital collections
in the humanities. S/he will be required to attract addi-
tional research resources and to this end the Library wel-
comes suggestions for projects from any higher education
institution in Wales.
contact: Andrew Green, Librarian, National Library of
Wales, Aberystwyth, Ceredigion SY23 3BU
01970 632805, andrew.green@llgc.org.uk

Above Left:
John Ingleby,
Berse Chapel,
Watercolour, 1794

Above Right:
John Ingleby,
Conway from
above the Ferry,
Watercolour, 1795

Right: Richard Calvert

Jones, Margam Castle,
Daguerreotype, 1841
16 Aberystwyth University
Aberystwyth
University
School of Art
Research at the School of Art falls into two areas: fine art practice
(painting, photography, printmaking, illustration, contemporary
drawing, multi- and time-based media) and the study of art and visual
culture and its presentation. We are committed to research in art, its
histories and practices, in both international and national dimensions.
Our researchers contribute to innovative interdisciplinary fields - such
as art and material culture, art and gender studies, and art and religion -
within collaborative, national and international contexts.
In Fine Art, our staff undertake practice-led research in: traditional
and contemporary techniques of printmaking, painting, photography,
illustration and the book arts, and their histories; digital, traditional
and alternative photographic and printmaking processes; figurative
painting; contemporary drawing practice.
In Art History, we are concerned with:19th- and 20th-century
European art, especially British; the visual culture of Wales, Welsh
art and craft, collecting and curatorial practices; British printmaking
and the illustrated book; Australian art; the visual culture of religions;
women’s art, craft and design; 20th-century British and world ceramics.
Mae ymchwil yn yr Ysgol Gelf yn ymrannu’n ddau faes: arfer celfyddyd
gain (peintio, ffotograffiaeth, gwneud printiau, darlunio, lluniadu
cyfoes, aml-gyfryngau a chyfryngau’n seiliedig ar amser) ac astudio
celf a diwylliant gweledol a’i chyflwyniad. Mae gennym ymrwymiad i
waith ymchwil mewn celf, ei hanes a’i harferion, ar lefelau rhyngwladol
a chenedlaethol. Mae ein hymchwilwyr yn cyfrannu i feysydd
rhyngddisgyblaethol arloesol – fel celf a diwylliant materol, celf ac
astudiaethau rhywedd, a chelf a chrefydd – o fewn cyd-destunau
cydweithrediadol, cenedlaethol a rhyngwladol.
Mewn Celfyddyd Gain, bydd ein staff yn ymgymryd â gwaith ymchwil
sy’n canolbwyntio ar arfer mewn: technegau traddodiadol a chyfoes
gwneud printiau, peintio, ffotograffiaeth, darlunio a chelfyddydau’r
llyfr, a hanes y rhain; prosesau ffotograffig a gwneud printiau digidol,
traddodiadol ac amgen; peintio ffigur; arfer lluniadu cyfoes.
Yn Hanes Celfyddyd, rydym yn ymddiddori yn y canlynol: celf
Ewropeaidd y 19eg a’r 20fed ganrif, yn enwedig celf Brydeinig;
diwylliant gweledol Cymru, celf a chrefft Cymru, arferion casglu a
churadurol; printwneuthurwyr Prydeinig a’r llyfr darluniadol; celf
Awstralia; celf weledol crefyddau; celf, crefft a dylunio menywod;
cerameg yr 20fed ganrif ym Mhrydain a’r byd.

research groups
school of art museum
The collections of the School of Art Museum provide a focus
for a funded research centre, projects and postgraduate
study. Staff disseminate their research through the curation
of touring exhibitions, the publication of books, catalogues
and articles, the delivery of public lectures, and through
project- or field-dedicated websites and online databases.
Much of the research involves original investigation leading
to new knowledge and improved insights into the collec-
tions. The Museum holds over 20,000 examples of fine
and decorative art. At the core of the fine art collection are
our holdings of European prints from the 15th century to
the present day, drawings, watercolours, photographs and
contact: Robert Meyrick, rtm@aber.ac.uk
centre for studies in the visual culture of religion (csvcr)
The Centre has been established to study the visual culture
of religion. This is a relatively recent and a pioneering aca-
demic field. It aims to study those aspects of the material,
phenomenal, and transcendental expressions of religions
that are apprehensible by ‘sight’ (in both the perceptual and
imaginal sense). This is with a view to developing a fuller
knowledge and understanding of the visual traditions of
specific systems of faith, as well as (eventually) a holistic
and unified conception of religious visuality within a global
and multi-faith context.
A religious culture’s visible attributes are as much a
repository and articulation of thought, identity, values,
ideals, and priorities as are its textual, oral, and auditory
representations. The study of these attributes is, therefore,
indispensable to a full-orbed appreciation of religious life
and belief. Because the visual and other expressions of
religious culture are interdependent, research takes place
within a matrix of relevant disciplines, and involves a
pooling and an exchange of scholarly methods. The sub-
stance of study comprises traditional high- and applied-art
mediums, as well as low-art forms, ephemera, media, and
immaterial manifestations of the religious imagination,
produced by a diversity of orthodox, heterodox, main-
stream, and marginal religious groups, past and present.
contact: Professor John Harvey, jh@aber.ac.uk
Aberystwyth University // Research Groups 17
private press books. In addition to the George Powell Col-
lection of pictures, bronzes and objet d’art bequeathed in
1882, there are over 5,000 wood engravings for periodicals
of the 1860s and a fine collection of prints representing the
Etching Revival from Whistler to the inter-war years. Other
significant areas of interest include art in Wales since 1945,
contemporary British printmaking, Welsh photography
and an outstanding collection of 20th-century Italian pho-
tographs. Mindful of their research potential, the Museum
acquires significant bodies of original artworks and archive
material representative of individual artist’s careers.
A Lombok potter,
Bali Island
ceramic collection
& archive
Originally based on the early records of the Craft Potters’
Association of Great Britain, the Ceramic Archive now
collects print, audio, video and electronic documentation
relating to contemporary and studio ceramics. The Ceram-
ics Collection comprises contemporary British, European,
American, and Japanese studio pottery, 18th & 19th century
Welsh and English slipware, Swansea and Nantgarw porce-
lain, Art Pottery and Oriental ceramics. The strength is its
internationally renowned holdings of early 20th century
British pioneer studio pottery.
contact: Moira Vincentelli, mov@aber.ac.uk
Daniel in the Lion’s Den, lithograph by Butterworth
& Heath after a painting by E N Downard, 1862
Left to Right:
John Harvey, Graven Image (The Second Commandment),
encoded voice, guitar, and devices, 2009
Australians in Britain: the twentieth-century experience,
Monash University ePress, 2009
John Harvey, The First Day (Genesis 5.1-5), oil on board, 2007
18 Aberystwyth University // Research Active Staff
research active staff
moira vincentelli Senior Lecturer in Art History and
Curator of Ceramics. mov@aber.ac.uk
 www.mirandawhall.com
Women and Ceramics: Gendered Vessels (MUP, 2000) and Women
Potters: Transforming Traditions (A&C Black, 2003), as well as
her work developing the Ceramics Collection and Archive, have
established Vincentelli at the forefront of contemporary studies
in ceramics. External research collaborations are key to her work.
Through a symposium in 2007 and an exhibition in 2008 at Carel-
ton College and Northern Clay Centre, Minneapolis, Vincentelli
has developed an international network of scholars writing about
traditional ceramics and their transformations and adaptations in
the contemporary world. She has curated several national touring
exhibitions of ceramics including Sankofa: Ceramic Tales from
Africa (2006) and Body Works: Figurative Ceramics (2005), and
regularly develops exhibitions, websites and educational proj-
ects in relation to the Ceramic Collection and Archive, some of
which draw on postgraduate projects and research. Vincentelli is
a founding member of the Interpreting Ceramics Research Col-
laboration (with UWIC, Bath Spa and UWE), which organizes
conferences and exhibitions and publishes the electronic journal
Interpreting Ceramics. She is on the Editorial Board of Interpreting
Ceramics, has edited Issue 10 (2008) on World Ceramics and is a
long-serving Member of the Organising Committee of the Inter-
national Ceramics Festival. Following an AHRC-funded project
she is currently preparing a book on Ceramics in Wales, a Gendered
Perspective.
paul croft Lecturer in Fine Art (Printmaking).
puc@aber.ac.uk, www.paulcroft.org
Paul Croft trained in Fine Art, specialising in drawing, painting
and printmaking. Since qualifying as Master Printer from the
Tamarind Institute of Lithography in 1996, his research and prac-
tice as an artist, educator, printmaker and collaborating printer
has culminated in the publication of two books on Stone Lithogra-
phy and Plate Lithography (UK: A&C Black, 2001 & 2003; USA:
Watson-Guptill, 2003; China: JML Fine Art Press, 2003).
In 2007 he curated Stone-Plate-Grease-Water, an exhibition
of international contemporary lithography, an AHRC-funded
research project that has made a significant contribution to the
understanding of the nature and diversity of current lithographic
practice. The show included 90 prints by 64 artists from the UK,
Ireland, USA, Canada, Australia, Argentina and Jordan, and was
accompanied by a catalogue and website (www.spgw.co.uk).
Integration of studio-based research – primarily concerned with
lithographic practice and collaboration – into the pedagogical
environment is seen as an important aspect of student educa-
tion. Recent collaborations with visiting artists including David
Tress, Shani Rhys James, Stuart Pearson Wright, Marcelle Han-
selaar and Wuon Gean Ho have made a considerable impact and
contribution to the teaching environment. Similarly continuing
research into the interfacing techniques of stone lithography and
computer-generated drawing is encouraging interaction between
traditional and digital areas.
As an Associate Fellow (2005) and Fellow (2007) of the
Royal Society of Painter-Printmakers, and Chairman of Aberystw-
yth Printmakers, Croft has formed an international network of
artists, print workshops and educational institutions with the aim
of increasing the profile of lithography and attracting collaborat-
ing artists to the School of Art. He has contributed several articles
to Printmaking Today and his work appears in several books on
printmaking, including Tamarind 40 Years (UNM, 2000), Collect-
ing Original Prints (A&C Black, 2005), Printmakers Secrets (A&C
Black, 2009), and Contemporary Printmaking (2009). Recent
exhibitions include Contemporary Welsh Printmakers (Lahore
and Karachi, 2007), The Prints of Wales (Kansas, 2007), and
two international portfolio exchanges at The Southern Graphic
Conference in Richmond, USA (2008). In 2008 he was invited
by Gregynog Press to illustrate Welsh Times celebrating the work
of author Emyr Humphreys. Teaching and research supervision
covers Fine Art (printmaking) and Art History (history of lithog-
raphy).
miranda whall, Lecturer in Fine Art. mpw@aber.ac.uk
An early career researcher, Whall has developed a distinctive,
dynamic, and provocative interdisciplinary visual and audio
response to issues, taboos and expectations surrounding female
identity and expression within social, political, cultural, animal
and natural environments by creating humorous and unlikely
scenarios between herself and other things, explored in ironic
relation to art-historical, technological, pastoral, and Romantic
imagery.
Miranda Whall gained her MA in Fine Art from the Royal
Academy Schools in 1996. She has exhibited widely; her exhibi-
tions have been staged at the BALTIC Centre for Contemporary
Art, Gateshead, Schuster Gallery, Berlin, Courtauld Institute of
Art, London, Contemporary Art Society, London, Gimpel Fils
gallery, London and Glasgow International Festival in solo, two
person and group shows, comprise works that combine conven-
tional media with time-based, mixed- and digital format media.
She was Arts Council England, North East Artist in Resi-
dence in Berlin and Wheatley Bequest Fellow at BIAD. Whall’s
digital lace drawings have been exhibited in the Jerwood Drawing
Prize competition and Pizza Express Drawing Prize and featured
in international contemporary drawing exhibitions: The Square
Root of Drawing at Temple Bar Gallery, Dublin, and Salon 2007
New British Painting and Works on Paper, curated by Flora Fair-
burn, London. Whall was one of ten artists representing the UK
in the 2008 international Kaunas Art Biennial and Textile 07
Unpicked and Dismantled at the M. K. Ciurlionis National Art
Museum, Lithuania.
Her work has been included in exhibitions curated by distin-
guished curators of contemporary art such as Soriya Rodriquez,
curator of Zoo Contemporary Art Fair (Write–On Right–Off),
Irene Bradbury from the White Cube, and J. J. Charlesworth
in Jake Chapman’s house and gallery. The Animal Gaze, a major
exhibition of international artists curated by Rosemarie Goldrick,
toured to the Centre for Contemporary Art and the Natural
World, and Plymouth City Museum and Gallery. Her animation
work has recently been published by Filmarmalade launched at
Bfi and distributed through ICA and the Bfi.
Recent video projects include: Marine Dialogues, a series of
5 videos, underwater conversations with marine creatures, a col-
laboration with Dr Helen Marshall and Dr Rupert Marshall of
IBERS; Mother/Fucker, a video Triptych, digital manipulation of
Gustave Courbet’s painting, L’Origin de Monde. She is currently
working on an Arts Council funded project ‘A Love Poem’, an
underwater journey also in collaboration with the Drs Marshall
and foreign language speakers and translators. Future projects are
Conversations with Mothers, a series of films in conversation with
creatures who have interesting motherhoods, and Glow Worms,
Spiders etc, in collaboration with Dr’s Marshall and others. Teach-
ing and research supervision covers contemporary interdisciplin-
ary fine art, with interests in new media, site specificity, relational
aesthetics, dialogical art and female representation.
john harvey Professor of Art, jhh@aber.ac.uk
http://users.aber.ac.uk/jhh/
John Harvey is an historian of art and visual culture and practi-
tioner and theoretician in Fine Art. His research field is the visual
culture of religion. His art-historical studies have engaged the
visual imagery of popular piety, supernaturalist traditions, and
working-class culture. He has written several books including
Photography & Spirit (2007); The Appearance of Evil: Apparitions
of Spirits in Wales (2003); Image of the Invisible: The Visualization
of Religion in the Welsh Nonconformist Tradition (1999); and The
Art of Piety: The Visual Culture of Welsh Nonconformity (1995).
Harvey has also contributed chapters and articles to books and
journals including ‘The Agony in the Garden’ (Paternoster, 2009),
‘Visual Typology and Pentecostal Theology’ in Imaging the Bible
(SPCK, 2008) and ‘Seen to be Remembered’ in Journal of Design
History (2004). He has delivered scholarly papers at conferences
held in the Europe and USA. Since 2005, he has initiated sympo-
sia and research projects, uniting art historical and biblical studies
with the co-operation of the Department of Theology and Studies
at Lampeter.
In art practice, his work explores non-iconic attitudes to reli-
gious art through an engagement with visual and textual sources,
theological and cultural ideas, and systemic processes. The work,
exhibited in the UK and USA, is discussed in The Pictorial Bible
series publications (National Library of Wales, 2000; School of
Art, 2007). Presently, he is co-authoring The Bible as Art, and
extending his investigation of textual-visual relationships in con-
junction with sound, in the context of The Pictorial Bible III: Trans-
figurations. His research supervision covers: the visual culture
of religion; image and text; religion and photography; religious
architecture; contemporary art, art in Wales, and the practice of
painting and drawing.
robert meyrick Head of School of Art and Keeper of Art
rtm@aber.ac.uk, www.robertmeyrick.co.uk
Robert Meyrick trained in fine art and art history and now writes
on the history of printmaking, art and visual culture of Wales,
20th-century British art, and collecting practice. This is reflected
in his contribution to teaching at Aberystwyth and in his develop-
ment of the University’s art collections. In 2001 he was invited to
become an Honorary Fellow of the Royal Society of Painter-Print-
makers in ‘recognition of his services to the art of printmaking in
Britain’. He has curated national touring exhibitions and written
accompanying publications for leading provincial museums and
private art galleries in the UK.
Meyrick is regularly invited to contribute chapters for books
and catalogues, among them ‘Beyond Impressionism’ (2006) and
‘Wealth Wise and Culture Kind’ (2007) for National Museum
Wales, ‘In Pursuit of Arcadia’ for Pallant House, Chichester
(2007), ‘Little Englandism’ in Ancient Landscapes, Pastoral Visions
for Southampton Art Gallery, and ‘Edgar Holloway’s American
Etchings’ for the Rensselaer County Historical Society, New
York (2008). He was advisor-contributor-author for the National
Museum Wales centenary exhibition, Industry to Impressionism
(2007). His monographs include The Etchings and Engravings of
Edgar Holloway (1996) and John Elwyn (Ashgate, 2000).
Since 1998 he has served on the Editorial Board of Gregy-
nog Press and is advisor in the compilation of The Dictionary of
Welsh Biography 1971-2000. As his Catalogue Raisonné of Prints
by Joseph Webb nears completion, he is soon to research and
curate a major retrospective exhibition of paintings by Christo-
pher Williams (1873-1934) for the National Library of Wales and
National Museum Wales (2011). Other ongoing projects include
a book chapter for Victorian Illustration (Ashgate, 2010), The Arts
and Crafts Print (Antique Collectors’ Club) and accompanying
touring exhibition, and catalogues raisonné of prints by William
E C Morgan (1903-1979) and Sydney Lee RA RE RWS (1866-
1949). Teaching and research supervision covers Fine Art (illus-
tration and printmaking) and Art History (20th-century British
printmaking, book illustration, the private presses, art in Wales,
19th- and 20th- century British Art, collecting practice, and mate-
rial held in the School of Art collections).

colin cruise Research Lecturer. coc@aber.ac.uk
Before starting an academic career in Victorian Studies, Cruise
studied Fine Art, specialising in printmaking and painting. His
PhD thesis concerns English Literature of the 1890s in relation
to religion, art, and gender. He has published widely on aspects of
Victorian culture, including ‘Versions of the Annunciation’ (After
the Pre-Raphaelites (MUP 1999); ‘Baron Corvo and the Key to the
Underworld’ in The Victorian Supernatural (CUP 2003); and ‘Sin-
cerity and Earnestness: Rossetti’s Early Exhibitions’ in Burlington
Magazine ( January 2004). He contributed three entries on Victo-
rian artists to the Dictionary of National Biography. Forthcoming
publications include essays on Pater (for Macmillan), on Simeon
Solomon (for Ashgate) and on drawing for The Cambridge Com-
panion to Pre-Raphaelitism.
Cruise curated the major exhibition Love Revealed: Simeon
Solomon and the Pre-Raphaelites (2005-6) – which toured Villa
Stuck, Munich, and the Ben-Uri Gallery, London – and organised
the accompanying conference for the National Portrait Gallery,
London (2006), and the symposium at Yale BAC (2006). The
exhibition catalogue was published by Merrell in 2005.
Cruise is a Fellow of the Royal Society of Arts; Member of
the AHRC Peer Review College (since 2007); Member of the
AHRC Postgraduate Panel (since 2008); and served as Chair of
the Association of Art Historians (2004-07). He is a member of
the academic advisory panel for a major JISC-funded project to
digitise all Pre-Raphaelite works at BMAG and is curator of an
international touring exhibition on Pre-Raphaelitism, The Poetry
of Drawing (catalogue to be published by Thames and Hudson in
2010). He was the holder of the first Pre-Raphaelite Fellowship
jointly awarded by the University of Delaware and the Delaware
Art Museum in 2008. His teaching and research supervision
covers 19th-century art and its cultural contexts in social history
and religion; Pre-Raphaelitism; the Aesthetic Movement; the
identity of the artist in British art c1800-c1960; the history of
drawing.
chris webster Lecturer in Fine Art (Photography)
cpw@aber.ac.uk
Christopher Webster studied art and art history as an undergradu-
ate and postgraduate in South Africa. As a fine art photographer he
has staged numerous solo and group exhibitions internationally;
most recently, Cipher toured the UK, Ireland and South Africa.
He has staged solo exhibitions in the USA (2002, 2003), the UK
(1998, 1999, 2001, 2005, 2006), South Africa (1993, 1998), and
the Netherlands (2000). He has written book chapters for The
Initiated Artist (Amsterdam UP, 2008), Esotericism, Art and Imagi-
nation (MSU, 2008) and contributed to The Nineteenth Century
Encyclopaedia of Photography (Routledge, 2007).
A member of the Association of Studies in Esotericism and the
European Society for the Study of Western Esotericism, Webster
serves on the editorial boards of Consciousness, Literature and the
Arts and the South African Journal of Photography. As evidenced
by international exhibitions and conference papers, he contin-
ues to develop, with his PhD and Masters students, alternative
approaches to photographic practices (both chemically and con-
ceptually). His most recent practice is centred on the production
of short 16mm films using stop-motion animation and manipula-
tion of the film surface. His short film Pearl (2008) was shown by
Outcasting, a Cardiff-based moving-image gallery. He is currently
working on new films toward a solo exhibition in 2009.
Teaching and research supervision covers Fine Art (pho-
tographic and lens based practice) and Art History (history of
photography, specifically: occult and esoteric applications of
photography, including physiognomy; spirit photography, docu-
mentation of esoteric events, photographs as evidence of the
supernatural; the staged and manipulated photograph, including
photo-collage and photomontage; and the use of found images).
Aberystwyth University // Research Active Staff 19
simon pierse Lecturer in Fine Art (Painting)
spw@aber.ac.uk, www.simonpierse.co.uk
A painter and art historian, Simon Pierse has published inter-
nationally. His articles on Sidney Nolan in Wales, the 1961
Whitechapel Art Gallery exhibition Recent Australian Painting,
paintings of 
Uluru by Lloyd Rees and Michael Andrews, and
Antony Gormley’s Inside Australia installation in Western 
Aus-
tralia, have appeared in Art & Australia, the Melbourne Art Journal,
and Australian Studies. He is currently writing a book on exhibi-
tions of Australian art in London, 1953-65.
In 2000-1, he was awarded a Sir Robert Menzies Bicenten-
nial Fellowship and was based at La Trobe University, Melbourne.
He is a member of the British Australian Studies Association and
regularly visits Australia, most recently in 2007-8 on a five month
residency to Dunmoochin, home of Australian artist Clifton
Pugh (1924-1990). Pierse is also involved in the organization and
curation of exhibitions: either touring exhibitions, such as Terra
Incognita, an Arts Council funded exhibition of contemporary art
about the Australian landscape, or exhibitions designed for the
School of Art Galleries, such as Sidney Nolan: A Personal View,
staged in collaboration with the Sidney Nolan Trust.
With the support of the AHRC and collaboration of the
Alpine Club, London, the Royal Geographical Society, Fondazi-
one Sella, Biella, and the Roerich Museum, New York, he curated
the exhibition Kangchenjunga: Imaging a Himalayan Mountain,
marking the 50th anniversary of the first ascents of the mountain.
Teaching and research supervision covers Fine Art (painting and
drawing) and Art History (post-war British and Australian paint-
ing, especially British perceptions of Australian art, identity and
landscape).
20 Swansea Metropolitan University
Swansea
Metropolitan
University
Dynevor Centre for Arts,
Design and Media
The growth of SMU’s Art & Design research environment,
strategies and infrastructure since RAE2001 has been significant.
This has been accelerated by the creation of a School of Research &
Postgraduate Studies, the appointment of a Head of School, three
Research Facilitators, a central University Research Administrator,
the expansion of the University’s Commercial Services and links to
knowledge exploitation funding. These developments have facilitated
a growing number of qualified research supervisors, research students
and studentships funded by our success in RAE2008, and the
establishment of interdisciplinary research centres, networks and
groups.
Key research mechanisms include the Centre for Innovation and
Research in the Creative Industries, (CIRIC: www.smu.ac.uk/ciric),
the Centre for Lens-Arts and Science Interaction (CLASI: www.
smu.ac.uk/clasi), the Science, Art and Technology Network (www.
smu.ac.uk/satnet) and the Architectural Glass Centre (AGC: www.
agc.org.uk ). The percentage of research active staff in the Faculty of
Art and Design is high, and a mentoring scheme ensures that new
and emerging researchers are supported. Research studentships are
aligned with relevant Research Groups and supervisors. International
exhibitions, publications and symposia are supported and a number
of international research partnerships have been established. There has
been substantial external investment in the research infrastructure and
new initiatives are in the early stages of what promises to be a highly
productive phase of activity.
Mae twf amgylchedd, strategaethau ac isadeiledd ymchwil Gelf a
Dylunio’r Brifysgol ers RAE2001 wedi bod yn sylweddol. Cyflymwyd
hyn oll gan sefydlu Ysgol Ymchwil ac Astudiaethau Ôl-raddedig,
penodi Pennaeth Ysgol, tri Hyrwyddydd Ymchwil, a Gweinyddydd
Ymchwil canolog i’r Brifysgol, ehangu Gwasanaethau Masnachol y
Brifysgol a chysylltiadau â chyllid manteisio ar wybodaeth. Mae’r
datblygiadau hyn wedi esgor ar nifer cynyddol o oruchwylwyr ymchwil
cymwys, myfyrwyr ymchwil ac ysgoloriaethau i fyfyrwyr a gyllidwyd
gan ein llwyddiant yn RAE2008, a sefydlu canolfannau ymchwil,
rhwydweithiau a grwpiau rhyngddisgyblaethol.
Mae mecanweithiau ymchwil allweddol yn cynnwys y Ganolfan
Arloesedd ac Ymchwil yn y Diwydiannau Creadigol (CIRIC: www.
smu.ac.uk/ciric ), Canolfan Rhyngweithio Celfyddydau Lens a
Gwyddoniaeth (CLASI: www.smu.ac.uk/clasi), y Rhwydwaith
Gwyddoniaeth, Celf a Thechnoleg (www.smu.ac.uk/satnet), a’r
Ganolfan Gwydr Pensaernïol (AGC: www.agc.org.uk). Mae’r ganran
o staff y Gyfadran Gelf a Dylunio sy’n weithgar o ran ymchwilio yn
uchel, ac mae cynllun mentora yn sicrhau fod ymchwilwyr newydd a
dibrofiad yn cael cefnogaeth. Mae ysgoloriaethau ymchwil yn cael eu
cyplysu â Grwpiau Ymchwil a goruchwylwyr perthnasol. Cefnogir
arddangosfeydd rhyngwladol, cyhoeddiadau a symposia a sefydlwyd
nifer o bartneriaethau ymchwil rhyngwladol. Bu buddsoddi allanol
sylweddol yn yr isadeiledd ymchwil, ac mae mentrau newydd eisoes
ar y gweill ar ddechrau’r hyn sy’n addo bod yn gyfnod o weithgaredd
cynhyrchiol dros ben.

research groups
centre for lens-arts & science interaction (clasi)
Centre for Lens-Arts and Science Interaction (CLASI)
encourages and promotes interdisciplinary research proj-
ects that stimulate innovation and experimentation across
photographic, digital, installation and electronic arts. A
strong emphasis is placed on research strands where the his-
tories, philosophies and practices of art and science inter-
sect. The definition of art and science is intentionally broad
and the centre is aligned with the Science, Arts and Tech-
nology Network (SATnet) and the Centre for Research
and Innovation in the Creative Industries (CIRIC). Key
research strands are: art and bioscience; memory and
memento mori; taxonomies and constructions of nature;
performed photography and philosophical multiplicities.
CLASI aims to foster interdisciplinary research at national
and international levels and to build partnerships with
other arts and educational establishments, fostering and
promoting collaborations that yield rigorous, challenging
and inventive outcomes.
science, art & technology network (satnet)
Science, Art & Technology Network (SATnet) is a Welsh
Assembly Knowledge Exploitation Fund (KEF) network
and research centre for science, arts and technology trans-
fer and innovation. The network promotes interdisciplin-
Creative industries research & innovation centre (ciric)
Creative Industries Research and Innovation Centre
(CIRIC) is a £5 million development, funded through the
EU, SMU and private industry. It is a hub supporting six
research projects:
1. Moving Image Wales: knowledge transfer to the
media industry (A4B KTC funded.)
2. Creativity into Micro-Enterprises: empowering
creative practice in the business sector.
3. Textiles Technology Project: knowledge transfer to
the textile and fashion sector in Wales (A4B KTC
funded.)
4. SATnet: a network for science, arts and technology
innovation (A4B KEP funded.)
5. IPCRES: International Project Centre for Research
into Events and Situations
6. MIKE - Media Information Knowledge Exchange -
media knowledge available and accessible to Welsh
businesses (A4B KEP funded.)
Swansea Metropolitan University // Research Groups 21
potential research projects:
1. Philosophical discourses between art and science (practice
and theory)
2. The history and evolution of lens-based practices such as
photography and the emergence of digital technologies
(and how this relates to our understanding of visual culture
and representation)
3. Biological discourses of embodiment and cognition (neu-
ro-culture, anatomy, cognitive psychology, philosophy)
4. Taxonomies, typologies and classification of the natural
and constructed environment (including museology)
5. Time-based arts and the vanitas and memento mori (with
particular reference to photography).
contact: Dr. Karen Ingham, karen.ingham@smu.ac.uk
http://www.smu.ac.uk/research/index.php/art-and-
design
ary collaboration between the usually distinct disci-
plines of fine, conceptual and applied arts, traditional
and emerging technologies, the physical and biological
sciences and engineering. Knowledge transfer is facili-
tated between and across science, technology, the cre-
ative industry sector and small to medium enterprises,
together with practising artists, academics and Welsh
Higher Education Institutions. It provides a forum for SMU, Dynevor Centre
creative exchange and promotes ingenuity through for Arts, Design & Media
innovation from research to production.
potential research projects
1. Investigations into print technologies, both traditional
and digital, from the perspective of conceptual, applied,
and nanotechnology perspectives.
2. Development of innovative laser cutting technologies in
the production and presentation of food.
3. Experimentation of industrial laser and waterjet cutting
technologies in the creation of steel applied art objects
and non-traditional art and engineering practices.
4. Knowledge exchange relating to the relationship be-
tween art, science and technology.
contact: Anna Lewis, anna.lewis@smu.ac.uk
http://www.smu.ac.uk/satnet
CIRIC’s mission is to foster R&D of products, processes
and services. CIRIC is an exemplar of the Welsh Assem-
bly’s aim to ensure that high quality research facilities are
available to meet the needs of Welsh economic growth
sectors.
potential research projects
1. Media: creative developments in cross media projects
focused on attracting investment into Wales.
2. Materials: innovative approaches in the use and application
of materials (glass, cloth, ceramics, metal, paper, wood,
composites) using laser and water cutting.
3. Creativity: research and practice in the relationship be-
tween creative pedagogy and organisational change.
contact: james.moxey@smu.ac.uk,
http://www.smu.ac.uk/ciric
22 Swansea Metropolitan University // Research Groups

applied arts research

group
Applied Arts Research Group researchers are investigat-
ing the inter-relationship of old and new technologies and
ask questions concerning digital technologies, creativity,
the making of artefacts and the possibility of new forms
and contexts. It also includes drawing research and how
drawing supports creativity and the emergence of ideas
while making. In 2008 the group coordinated and hosted
an international symposium Marking Space which was
accompanied by an exhibition and publication. http://
www.smu.ac.uk/ciric/index.php/ciric-2005-2008/mark-
ing-space.
contact: Beate Gegenwart beate.gegenwart@smu.ac.uk
http://www.smu.ac.uk/research/index.php/art-and-design

landscape research group drawing research

The concept of landscape in its many historically-deter-
mined formations is being explored through practices
group
including painting - specifically the refutation of the nega- The functions of drawing are identified as threefold:
tive critique of landscape painting, - site-specific installa- researchers explore the
tions and interventions, and also through photographic potential of drawing as a
practices, in particular the constructions of images using means of documentation of
photo-technologies not normally applied within the land- the visual world, as a means
scape tradition. of expressing personal
responses to socio-political
contact: Prof. Andrea Liggins andrea.liggins@smu.ac.uk issues, and as a means to
http://www.smu.ac.uk/research/index.php/art-and- developing an intelligence
design of seeing through innova-
tive teaching strategies - an
intelligence which is likely
lens based research to inform the widest range
Much of the lens-based research is conducted under the contact: Mark Cocks mark.cocks@smu.ac.uk of contemporary art prac-
umbrella of CLASI. Working in partnership with cultural http://www.smu.ac.uk/research/index.php/art-and- tices. There is also cross-disciplinary research being under-
industries nationally and internationally, CLASI encour- design taken between teachers of drawing, visual psychologists
ages and promotes interdisciplinary research through prac- and study skills tutors, testing the hypothesis that indicators
tices such as photography, time-based media, performed of dyslexia might be discerned in the drawings of dyslexic
photography, digital imaging and electronic arts. students: http://www.hhc.rca.ac.uk/kt/include/2007/
proceedings/paper.php?ID=1_6

potential research projects

The Drawing Research Group is keen to develop projects that
enhance the pedagogy of drawing, and establish a theoretical
basis for the social semiotics of drawing practice.

contact: Dr. Howard Riley howard.riley@smu.ac.uk

http://www.smu.ac.uk/research/index.php/art-and-
design

fine art research group

The term Fine Art, with its legacy steeped in the Renais-
sance struggle to gain higher social status for the plastic
arts, today refers to practices both material and conceptual.
Researchers aim to integrate the two, producing work as a
personal response to any given situation, or as an interven-
tion in the wider socio-political context. Themes include
debates around gender relationships and identities; site
specificity and location; the semantics of materials; politi-
cal and cultural processes; and the dialogue between curat-
ing and practice. In any event, the search is to balance those
two criteria of quality: conceptual intrigue, and perceptual
intrigue.

contact: Tim Davies tim.davies@smu.ac.uk

 Swansea Metropolitan University // Research Active Staff 23

research active staff

professor andrea liggins, Dean of Art & Design and
Director of several CIRIC initiatives into creativity and enter-
prise. Research interests are photography (including documen-
tary); the photographic baroque in practice; the relationship of
photography and values attributed to landscape; and the peda-
gogy of creativity. Supervising PhD: Hamish Gane Photography
and Melancholia.
andrea.liggins@smu.ac.uk
http://www.smu.ac.uk/research/index.php/andrea-liggins
dr howard riley, Head, School of Research and Postgradu-
ate Studies. Research interests include: pedagogy of drawing;
visual semiotics; generative art; relationship between drawing
and dyslexia.
Supervising PhD’s: Richard Monahan Indicators of Drawing
Practice in Contemporary Art; Mark Cocks The Digital Shadow:
Technological Interference with the Photographic Archive.
howard.riley@smu.ac.uk
http://www.smu.ac.uk/research/index.php/howard-riley
dr karen ingham, Reader in Art and Science Interactions
and artist-theorist. Research interests: interdisciplinarity in
art, science and technology and the history and philosophy of
science; interdisciplinarity in lens-based arts; collaborations in art
and anatomy and studies with an interest in embodiment theories,
neurobiology and cognition; photography (practice and theory)
and the photographic memento mori; history of medicine and
medical humanities in conjunction with the arts; museology and
taxonomy; digital film and creative writing.
Supervising PhD’s: Paul Woodland, The Divergent Gene: Bio-
medical Discourses of the Sexed Body; Brett Aggersberg, An
Investigation into the Paradigms of Electronic Art and their
Impact on its Value in the UK; Laura Jenkins, Can Photography
describe its own Event? Photography as Enigma in a Post-repre-
sentational Era
karen.ingham@smu.ac.uk
http://www.smu.ac.uk/research/index.php/karen-ingham
dr. robert a. newell, Associate Senior Lecturer in Fine
Art and practitioner of painting and drawing concerned particu-
larly with landscape. Research interests include the relationships
between subjectivity and natural phenomena in ways that involve
aesthetics, history of science, and metaphysics. Supervising
Richard Keating, Landscape Interventions and Social Inclusion.
robert.newell@smu.ac.uk
http://www.smu.ac.uk/research/index.php/robert-newell
dr. andy penaluna has a research interest in early photographic
image manipulation and, as Vice Chair of Enterprise Educators
UK, actively contributes to international debates on creativity
within business enterprise and entrepreneurship.
andy.penaluna@smu.ac.uk
http://www.smu.ac.uk/research/index.php/andy-penaluna
dr. paul jeff, Programme Director, MA Portfolio and Project
Director IPCRESS
paul.jeff@smu.ac.uk
http://www.smu.ac.uk/research/index.php/paul-jeff
beate gegenwart, Head, School for Fine and Applied Arts.
Research interests include: new vector- and image-based technol-
ogies, examining their potential and impact on traditional crafts
processes, particularly in the ‘fire arts’ of vitreous enamel and
glass; the practice-based research investigates how new concepts,
techniques and materials can enrich the field, predominantly
through the innovative use of laser/water jet cut steel and intri-
cately laser engraved vitreous enamel surfaces.
beate.gegenwart@smu.ac.uk
http://www.smu.ac.uk/research/index.php/beate-gegenwart
mark cocks, Head, School of Photography and Video. Cur-
rently engaged in PhD research into the implications for HE
learning, teaching and assessment of photographic chemical
and digital practice. Other research interests include exhibition
work that investigates the ongoing dialogue between the still and
moving image
mark.cocks@smu.ac.uk
georgia mckie, Senior Lecturer and Programme Leader, MA
Textiles; research interests include: knitted textiles and subse-
quent possible manipulations; digital textile processes; printed
textiles for interiors and fashion; interested in ethical design and
committed to freelance enterprise
georgia.mckie@smu.ac.uk
http://www.smu.ac.uk/research/index.php/georgia-mckie
Angela Maddock, Senior Lecturer with responsibilities for
undergraduate contextual and historical studies programmes and
supervision of dissertations; co-organiser of the Marking Space
symposium in 2008 and editor of the symposium catalogue.
angela.maddock@smu.ac.uk
http://www.smu.ac.uk/research/index.php/angela-maddock
julia griffiths jones, Senior Lecturer, Surface Pattern
Design. Currently completing a commission for The National
Wool Museum, involving new work combining metalwork with
digital print. Research interests include drawing, metalwork,
textiles, printed books, and the interpretation of museum collec-
tions.
julia.jones@smu.ac.uk
http://www.smu.ac.uk/research/index.php/julia-griffiths-jones
linda nottingham, Senior Lecturer, Surface Pattern Design.
Research interests: hand dyeing and screenprinting; digital textile
processes; needlepunching silk and wool; drawing baby garments
from the 18th and 19th century collections held at The Museum
of Welsh Life; evoking a sense of time, memory, presence and
awakening through textile processes.
linda.nottingham@smu.ac.uk
http://www.smu.ac.uk/research/index.php/linda-nottingham
stephanie tuckwell, Senior Lecturer, Surface Pattern
Design. Research interests include synthesis of diverse and mul-
tilayered experiences of landscape, drawing together cartography,
topography, weather mapping and representations of movement,
gesture and form.
stephanie.tuckwell@smu.ac.uk
http://www.smu.ac.uk/research/index.php/stephanie-tuckwell
bella kerr, Head of Foundation Studies.
Bella.kerr@smu.ac.uk
http://www.smu.ac.uk/research/index.php/bella-kerr
eilish o’donohoe, Foundation Studies.
eilish.odonohoe@smu.ac.uk
http://www.smu.ac.uk/research/index.php/eilish-odonohoe
hamish gane, Senior Lecturer, Photography.
hamish.gane@smu.ac.uk
http://www.smu.ac.uk/research/index.php/hamish-gane
james moxey, CIRIC.
james.moxey@smu.ac.uk
http://www.smu.ac.uk/research/index.php/james-moxey
john paul evans, Senior Lecturer, Photography.
john-paul@smu.ac.uk
http://www.smu.ac.uk/research/index.php/john-paul-evans
ruth robinson, Senior Lecturer, Photography.
ruth.robinson@smu.ac.uk
http://www.smu.ac.uk/research/index.php/ruth-robinson
phil thomas, Senior Lecturer, Graphic Design.
phil.thomas@smu.ac.uk
steve sullivan, Research Associate CIRIC.
steve.sulliuvan@smu.ac.uk
http://www.smu.ac.uk/research/index.php/steve-sullivan
sue williams, Senior Lecturer, Fine Art.
sue.williams@smu.ac.uk
http://www.smu.ac.uk/research/index.php/sue-williams
tim davies, Programme Director, Fine Art.
tim.davies@smu.ac.uk
http://www.smu.ac.uk/research/index.php/tim-davies
peter finnemore, Lecturer, Photography and Fine Art.
peter.finnemore@smu.ac.uk
http://www.smu.ac.uk/research/index.php/peter-finnemore
craig wood, Senior Lecturer Fine Art.
craig.wood@smu.ac.uk
http://www.smu.ac.uk/research/index.php/craig-wood

dr anne price-owen. Supervising PhD’s: Eva Bartussek
Waiting for Eurgolice: the Role of Patience in Photography; Anna
Papadopoulou Origins of Creativity; Alun Reynolds A Critical
Analysis of the Photographic Albums of Swansea Families; Alan
Wray Form as Commemoration.
anne.price-own@smu.ac.uk
http://www.smu.ac.uk/research/index.php/anne-price-owen
ainsley hillard investigates the physical and metaphorical
construction of cloth and its relation to body, memory and space.
Exploring a range of media, she combines traditional weaving
with audio-visual technologies, print and photography to create
site-specific installations.
ainsley.hillard@smu.ac.uk
http://www.smu.ac.uk/research/index.php/ainsley-hilard
24 Swansea Metropolitan University // Research Active Staff
research active staff
faculty of applied design & engineering
professor kelvin donne, Dean of Faculty, Director of the
Knowledge Transfer Centre in Cutting and Fabrication. Super-
vising PhD’s: Sean Jenkins Thermographic metric of human-
product interaction; Andy Baker Advanced spatial awareness
within a real-time 3D environment; Said Alame Investigation into
the degree to which common visual responses can be identified
and correlated with musical stimuli. kelvin.donne@smu.ac.uk
http://www.smu.ac.uk/research/index.php/professor-kelvin-
donne
dr ian walsh, Head, School of Industrial Design and Head,
Welsh School of Architectural Glass. Research interests: the
study of industrial design process as a driver for innovation. Direc-
tor of the Cerebra Innovation Centre. Supervising PhD :Chris
Thomas Design against Crime. ian.walsh@smu.ac.uk
http://www.smu.ac.uk/research/index.php/dr-ian-walsh
dr vanessa cutler, Lecturer, Architectural Glass, UK’s
leading authority on the creative uses of waterjet cutting for glass.
Advisor to the American Waterjet Technology Association, on
the board of the Society of Glass Technologists science and new
researchers committee. In August 2010 she will be giving a master
class at the British Glass Biennale and is a keynote speaker. Super-
vising PhD: Shelley Doolan: Water-jet cutting for architectural
applications. vanessa.cutler@smu.ac.uk
http://www.smu.ac.uk/research/index.php/dr-vanessa-cutler
dr barry ip, Senior Lecturer in Digital Media. Research inter-
ests include computer and video games design and the use of
learning technology in higher education; narrative structures in
video games, assessment procedures for computer games degrees,
and a longitudinal study into video game quality. Supervising
PhDs: Nick Hampton: Videogames- realism and the Uncanny
Valley; Paul Hazel Narrative structures in e-learning; Martin
Capey Virtual interactive three—dimensional environments: an
aesthetic approach; Jonathan Clements An industrial history of
Japanese animation. barry.ip@smu.ac.uk
http://www.smu.ac.uk/research/index.php/dr-barry-ip
sean jenkins, Senior Lecturer, Industrial Design. Research dr ross head, Cerebra Innovation Centre.
interests: thermography as a tool for evaluating the physiological ross.head@smu.ac.uk
and emotional responses evoked in users during product interac- http://www.smu.ac.uk/research/index.php/dr-ross-head
tion. Thermal imaging offers a highly accurate, non-contact and
objective measurement tool for exploring the dynamics of user’s dr tyra oseng, Senior Research Associate.
affective state during product interaction, adding depth to our tyra.oseng@smu.ac.uk
understanding of the nature and quality of user experience and http://www.smu.ac.uk/research/index.php/dr-tyra-oseng
provide useful visual and statistical data for designers.
sean.jenkins@smu.ac.uk sergio fontanarosa, Senior Lecturer, Automotive Design.
http://www.smu.ac.uk/research/index.php/sean-jenkins sergio.fontanarosa@smu.ac.uk
rodney bender, Research Fellow in Architectural Glass, chris thomas, Lecturer, Industrial Design. Currently engaged
founder and C.E.O of iGP Ltd, and invented KiloLux, a patented in PhD research into design against crime.
glass product first used in the Wales Millennium Centre. iGP has chris.thomas@smu.ac.uk
prototyped and manufactured glass product and artworks for a
variety of applications and contexts. These include working with andy baker, Senior Lecturer in Applied Computing.
Jørn Utzon, architect of the Sydney Opera House, and a variety andy.baker@smu.ac.uk
of prominent artists and designers. rodney.bender@smu.ac.uk
http://www.smu.ac.uk/research/index.php/rodney-bender ian williams, Senior Product Designer, IDEAS commercial
product design centre. ian.williams@smu.ac.uk
chris bird-jones, Senior Lecturer in Architectural Glass.
Research interests: Architectural applications of decorative pho- sara rees, Leverhulme Artist in Residence, Welsh School of
tovoltaic technology in architectural glass; gender -centric analy- Architectural Glass. sara.rees@smu.ac.uk
sis of international architectural glass education, practice, applica-
tion and expression. chris.bird-jones@smu.ac.uk alun adams, Architectural Glass Centre (AGC). Research
http://www.smu.ac.uk/research/index.php/chris-bird-jones interests: glass restoration and conservation.
alun.adams@smu.ac.uk
henry lutman, Research Fellow in Computer Animation.
henry.lutman@smu.ac.uk
paul hazel, Senior Lecturer, Digital Media.
paul.hazel@smu.ac.uk
http://www.smu.ac.uk/research/index.php/paul-hazel
martin capey, Head, School of Digital Media.
martin.capey@smu.ac.uk
http://www.smu.ac.uk/research/index.php/martin-capey

National
Museum
Wales
Research underpins all the functions and the credibility of a National
Museum. We have a pivotal role to play in the understanding of the
heritage, culture and natural environment of Wales and its place in
the world and supporting increasing public and popular interest in
these areas. The National Museum’s research strategy focuses on new
knowledge generated by the study of its collections, and projects
where those collections provide key databases or resources. It is also
a centre of excellence in new research and practice on the learning
and interpretation processes involved in presenting collections to and
interpreting them with different audiences.
Its research register covers all of the museum’s collecting areas,
from biodiversity and earth sciences to social and industrial history. In
the fields of art and design, key areas are European art, Modernism in
Britain, the art of Wales, Wales industrial and applied art history, and
contemporary practice in Wales. A wide range of research activities are
underway, supporting the themes of our acquisition and exhibition
programmes as well as other core activities. Research activity is fostered
and monitored by a Research Board, which aims to ensure that research
is directed in support of our Vision and resourced as well as it can be
within our constrained budgets.
As the Museum is now recognised as an Independent Research
Organisation by both the Arts & Humanities Research Council and
the Natural Environment Research Council, research frameworks
created for all our subject areas are being identified. We have put
in place a new Research Policy and an overall Research Strategy,
to support those areas where future research can be most usefully
concentrated to support our programme of work.
National Museum Wales 25
Mae ymchwil yn sail i holl weithgareddau a hygrededd amgueddfa
genedlaethol. Mae gennym ran allweddol i’w chwarae o ran deall
treftadaeth, diwylliant ac amgylchedd naturiol Cymru a’i lle yn y byd,
a chefnogi diddordeb poblogaidd cynyddol y cyhoedd yn y meysydd
hyn. Mae strategaeth ymchwil Amgueddfa Cymru yn canolbwyntio
ar gynhyrchu gwybodaeth newydd trwy astudio ei chasgliadau, a
phrojectau lle mae’r casgliadau hyn yn darparu cronfeydd data neu
adnoddau ar eu cyfer. Mae hefyd yn ganolfan ragoriaeth mewn
ymchwil ac arfer newydd yn y prosesau dysgu a dehongli sydd
ynghlwm wrth gyflwyno casgliadau i wahanol gynulleidfaoedd.
Mae ei chofrestr ymchwil yn cynnwys holl feysydd casglu’r
Amgueddfa, o fioamrywiaeth a gwyddorau daear i hanes cymdeithasol
a diwydiannol. Mewn celf a dylunio, y meysydd allweddol yw
celf Ewropeaidd, Moderniaeth ym Mhrydain, celf Cymru, hanes
diwydiannol a chelf gymwysedig Cymru, ac arfer cyfoes yng Nghymru.
Mae amrywiaeth eang o weithgareddau ymchwil ar y gweill, sy’n
cefnogi themâu ein rhaglenni caffael ac arddangos yn ogystal â
gweithgareddau craidd eraill. Caiff gweithgaredd ymchwil ei feithrin
a’i fonitro gan Fwrdd Ymchwil, sy’n ceisio sicrhau fod yr ymchwil
wedi ei chyfeirio at gefnogi ein Gweledigaeth, ac yn derbyn cymaint o
adnoddau ag sy’n bosibl o fewn ein cyllidebau cyfyngedig.
Gan fod yr Amgueddfa wedi ei chydnabod fel Sefydliad Ymchwil
Annibynnol gan Gyngor Ymchwil y Celfyddydau a’r Pynciau
Dyneiddiol a Chyngor Ymchwil yr Amgylchedd Naturiol, mae
fframweithiau ymchwil yn cael eu creu ar gyfer ein holl feysydd llafur.
Lluniwyd Polisi Ymchwil newydd a Strategaeth Ymchwil gyffredinol, er
mwyn nodi’r meysydd lle byddai’n fwyaf buddiol canolbwyntio gwaith
ymchwil y dyfodol i gefnogi ein rhaglen waith.
26 National Museum Wales // Research Active Staff

research themes
1. Life: understanding our planet and environments
2. Origins: making sense of the present by putting
people in touch with their past.
3. Belonging: representing peoples’ memories, cultural
experiences and what it means to live in 21st century
Wales.
4. Creativity: celebrating the creativity of art and
artist, inventor and invention and the ideas that have
inspired our world.
5. Futures: engaging with and debating issues that will
shape tomorrow’s world.
6. Museum Practice

contact: Mike Tooby, Director of Learning, Programmes

& Development Michael.Tooby@museumwales.ac.uk

Below: Richard Wilson,

Dolbadarn Castle, about 1765
Right: Gwen John,
A Corner of the Artist’s Room in Paris,
Oil on Canvass, 1907-9

research active staff

oliver fairclough, Keeper rachel conroy, Assistant Curator - Applied Art anne pritchard, Assistant Curator - Historic Art
oliver.fairclough@museumwales.ac.uk rachel.conroy@museumwales.ac.uk anne.pritchard@museumwales.ac.uk

andrew renton, Head of Applied Art bryony dawkes, Partnership Projects Curator charlotte topsfield, Assistant Curator (Prints & Draw-
andrew.renton@museumwales.ac.uk bryony.dawkes@museumwales.ac.uk ings) charlotte.topsfield@museumwales.ac.uk

nicholas thornton, Head of Modern & Contemporary Art rebecca ellison, Oil Paintings Conservator
nicholas.thornton@museumwales.ac.uk rebecca.ellison@museumwales.ac.uk

emily o’reilly, Senior Paper Conservator beth mcintyre, Curator (Prints & Drawings)
emily.o’reilly@museumwales.ac.uk beth.mcintyre@museumwales.ac.uk

judi pinkham, Senior Conservation Officer (Applied Art) melissa munro, Derek Williams Curator of Modern and
judi.pinkham@museumwales.ac.uk Contemporary Art melissa.munro@museumwales.ac.uk
 National Museum Wales // Curatorial Research Interests 27

curatorial research interests

re-display of centre block west wing galleries To plan francis place (1647–1728): early images of wales To gwen john (1876-1939) To discover more about our works
and formulate ideas for redisplay of post-1950 works in the new fully research 18 works on paper by Francis Place which form an by Gwen John enabling better access to them for visitors to the
West Wing Galleries. important part of the collection being they are the earliest images Prints and Drawings study room and contribute to the ongoing
contact: oliver.fairclough@museumwales.ac.uk of Wales carried out on the spot in 1678. redisplay of art galleries
contact: beth. mcintyrewales@museumwales.ac.uk contact: beth.mcintyre@museumwales.ac.uk
sisley in england and wales Research of primary sources
for Sisley’s visit to Wales and enhance understanding of two of his japanned tin plated sheet iron and its conservation the japanned wares of pontypool and usk Develop a
Welsh paintings in the museum’s collection. To investigate the techniques of Japanning employed by different greater understanding of the japanned ware collection and create
contact: charlotte.topsfield@museumwales.ac.uk factories to determine whether the surface deterioration is influ- a thematic research framework to better understand the social
enced by variations in the composition of the japanning lacquer. context of this material
Re-display of miniatures collection Re-display and re- contact: judi.pinkham@museumwales.ac.uk contact: rachel.conroy@museumwales.ac.uk
interpretation of the collection. Research into techniques and
identify sitters. david cox’s oil painting technique To research works by pierced forms: henry moore and barbara hepworth
contact: emily.oreilly@museumwales.ac.uk Cox in NMW collection and discover more about Cox’s oil paint- in the 1930s To further understanding of Moore and Hep-
ing techniques and working methods, and identify further oil worth at a key transitional phase in their careers.
welsh ceramics Publication of ‘semi-popular’ book of Welsh paintings on paper. contact: nicholas.thornton@museumwales.ac.uk
ceramics in NMW collection and make new research available. contact: rebecca.ellison@museumwales.ac.uk
contact: oliver.fairclough@museumwales.ac.uk thomas davies and the welshpool gold cup To learn
richard wilson- further technical studies To discover more about the life of Thomas Davies and the mechanisms of
discovering t. leigh To expand knowledge of the portrait more about the materials and techniques of Richard Wilson, his Welsh involvement in the early English empire
painter T. Leigh and the role he played in serving the gentry of contemporaries and followers contact: andrew.renton@museumwales.ac.uk
Wales. contact: kate.lowry@museumwales.ac.uk
contact: stephanie.robertsn@museumwales.ac.uk the ‘école de 1830’ in the ac-nmw collection Develop
ox horn cups: survival or revival To compare 20 known the understanding of the pre-Impressionist 19th-century French
continental porcelain at nmg Raise awareness of collec- examples, and investigate use, makers, details of manufacture and art collection, focusing on the contrasts between the academically
tion of continental porcelain by publishing for the first time a trace archival references to ox horn cups in Wales accepted and the subversive Realist works.
semi-popular book on museum’s continental porcelain collection contact: oliver.fairclough@museumwales.ac.uk contact: anne.pritchard@museumwales.ac.uk
contact: andrew.renton@museumwales.ac.uk
the influence of dylan thomas on the work of ceri
nmg gallery guide Produce a new edition of the 1990 gallery richards To research the influence of the poetry of Dylan
guide incorporating new research findings Thomas upon the work of Ceri Richards with a particular focus
contact: andrew.renton@museumwales.ac.uk on works held in the Derek Williams Trust collection.
contact: melissa.munro@museumwales.ac.uk

Supper set, enamelled and gilded

earthenware, Cambrian Pottery,
Swansea, about 1800-10
28 University of Glamorgan
University of
Glamorgan
Division of Visual Art
With a well established postgraduate teaching and research profile, the
Communication, Cultural and media Studies Research Unit, (CCMS)
has developed a lively postgraduate community. This is facilitated by
Department of Media, Culture and Journalism Research Seminars and
a close relationship with the Centre for the Study of Media and Culture
in Small Nations. The unit is wide-ranging, encompassing research
within communication, culture, media, journalism and film studies.
Such work may draw on, or address, theory, history, policy, institutional,
textual, critical and/or empirical analysis, and also practice.
Mae’r Uned Ymchwil Cyfathrebu, Diwylliant ac Astudiaethau’r
Cyfryngau yn adnabyddus am ei haddysg ôl-raddedig a’i hymchwil,
ac mae wedi datblygu cymuned ôl-raddedig fywiog. Hwylusir
hynny gan Seminarau Ymchwil Adran y Cyfryngau, Diwylliant a
Newyddiaduraeth a pherthynas glos gyda Chanolfan Astudio’r
Cyfryngau a Diwylliant mewn Cenhedloedd Bach. Mae’r uned yn
eang ei chwmpas, yn cynnwys ymchwil mewn cyfathrebu, diwylliant, y
cyfryngau, newyddiaduraeth ac astudiaethau ffilm. Bydd y fath waith yn
ymdrin â damcaniaeth, hanes, polisi, dadansoddi sefydliadol, testunol,
beirniadol ac/neu empiraidd, ac arfer hefyd.

research centres
centre for the study
of media & culture in
small nations
The Centre for the Study of Media and Culture in Small
Nations was established by the University of Glamorgan in
November 2006. Whilst the idea for a Centre which takes
as its focus ‘small nations’ arose out of work on Wales, the
intention is to include in its scope other small nations in
the UK, Europe and beyond. Essentially, it is the process of
globalisation and its corollary, localisation, and the impact
that such developments have on media and culture in small
nations that has prompted this initiative. The overall aim is
for the Centre to produce research of the highest standard
that has relevance both for Wales and other small nations,
and which also has global significance.
contact:
The Story Telling Centre
http://storytelling.research.glam.ac.uk/about/
Small Nations
http://culture.research.glam.ac.uk/about
research active staff
frances woodley Head of Division of Visual Art. My inter-
ests lie in exploring the relationship between art practice, herme-
neutics and art history in relation to pre-modern European paint-
ings of still life and early modern English paintings of laid tables.
An MA in Art History with the Open University completed in
2009 fostered an interest in the ambiguous depictions of foreign
objects in Hogarth’s Marriage A-la-Mode. Since starting the
MPhil at UWIC I have furthered this interest to include ways in
which contemporary art practice makes use of such depictions.
As Gadamer writes in Truth and Method past art and contem-
porary understanding operate in a “fusion of horizons”. I suggest
that processes of art that refer, defer and transpose the objects
and laid tables depicted in these traditional works can accomplish
University of Glamorgan // Research Centres 29
visual arts
research
unit
The Visual Arts Research Unit is in the process of being
formed and will take as its initial remit the need for col-
laboration, cross- and inter-disciplinary approaches to
research in art practices and their applications in Wales and
beyond.
research fields:
1. Communication, Culture and Media Studies
2. Film Studies
3. Art and Design
Right: Dan Allen,
Self-portrait with Chair,
Ceramic & Glass, 2007
Below Left: Jan Bennett,
Still from Head Projection, 2009
Below: Heather Parnell,
Three Dresses, Installation, 2009
understanding and transformation that go beyond the textual. architects, engineers and project teams in Wales and England to
The creation of new art from old thus presents new positions from develop and realize public art projects as part of urban regenera-
which to interpret and alternative approaches to interpretation tion schemes. In the same year I founded the company parnell.
itself. fwoodley@glam.ac.uk mackie.rowe to further these interests. At present I am undertak-
ing an MA in Art Practice at University of Glamorgan, exploring
heather parnell Award Leader, MA Art and Communities. the capacity of materials and processes of art practice to elicit
I am a practicing artist with a long standing history of working in sensory responses in viewers and participants. In studio practice,
education, community and public contexts in Britain, Egypt and I am using autobiographical experiences and autoethnographic
Italy, on residencies and commissions in education, healthcare methods as the springboard for my research which is informed
and urban settings. From the outset, my work in this field has been by Maurice Merleau-Ponty’s thinking on phenomenology and the
led by a belief in the value and necessity for community engage- significance of embodied experience in the perception, reception
ment and participation in art practice as a means of self and collec- and response to works of art. hparnell@glam.ac.uk
tive expression. Since 1999, I have collaborated with other artists,
30 University of Glamorgan // Research Active Staff
carol hiles Award Leader MA Arts and Health. I am inter-
ested in the discourse between public and private arts practice
particularly within the field of arts and health, specifically the
relationship between artists’ practice within healthcare settings
and other contexts. Accompanying the drive to advocate and
extend arts and well-being initiatives within the UK is the need
to strengthen the evidence base, to demonstrate the positive role
of the arts in health through qualitative and quantitative research
including the use of clinical models to prove its efficacy. How is
research in the field informing and colouring the creative work of
the artist both directly and through the work of commissioning
agencies, NHS Trusts and the development of arts and well-being
strategies? How is the artist’s language mediated in the shift from
studio or gallery to the healthcare environment? What taboos and
means of sublimation (external and internal) might be in place to
effect and alter the artist’s voice? I am engaged in examining these
questions through practice led research and case study analysis.
chiles@glam.ac.uk
inga burrows Senior Lecturer in Film Studies. Inga’s research
is practice based, the materials she works with digital video,
archive, light projection, site and memory story. The three large-
scale installation projects she has completed have involved com-
munity participation. She has collaborated with critical theorist
Dr Katja Krebs (University of West of England) on a number of
publications, which discuss the process of producing participa-
tory art works. Recent projects include dissemination of research
findings on poverty issues in collaboration with South Riverside
Development Centre and Oxfam, Wales, and the production
series of four short films in collaboration with The National Dance
Company of Wales, Cardiff Council and three primary schools.
Inga is currently developing an audio visual work ‘Nurture Watch’,
drawing on Victor Burgin’s concept of ‘elastic time’.
Iburrows@glam.ac.uk
dr ceri thomas University of Glamorgan, Curator. I am
employed as a 0.6 curator at the University of Glamorgan, Ponty-
pridd, where I founded and ran the Zobole Gallery from 2002 to
2007. Currently, I run the Orielau y Bont Galleries and the Uni-
versity of Glamorgan Art Collection Museum within the same
institution. My research specialism is the visual culture of south
Wales since 1945 and within this area I am particularly interested
in: the imaging of place; the exhibition, gallery space and art col-
lection as research tools and parts of the eco-museum; the role of
the curator as place-specific, creative researcher. My recent pub-
lications have been on the painters Joan Baker (2009), Ken Elias
(2009) and Ernest Zobole (2007) and on the artist collective The
Welsh Group (2008) and I have curated major exhibitions on all
four of these subjects. In 2007, I was awarded an Arts Council
of Wales Individual Production Grant to curate, research and
coordinate the ‘Mapping the Welsh Group at 60 / Mapio’r Grŵp
Cymreig yn 60’ project which included studio visits to forty con-
temporary artists working in a variety of media. I am planning a
conference in 2011 on the imaging of south Wales since 1910.
Chris Nurse, Paint Factory, 2008
chris nurse
Award Leader MA Art Practice. My research
interests are practice based and interdisciplinary in that I use
painting, printmaking and object making in the production of my
work. Recently I have been taking prints from bits of plastic or
cardboard packaging and turning them into paper models of tele-
visions from which I can then draw and paint. I am interested in
the language of representation and the difference between the real
and the simulacrum. When we see visual images our impression
of them is filtered through our internal memory banks of count-
less other images. On looking at a rough and ready version of a
thing by a non-artist, a child or an outsider artist, a space for the
imagination opens up between the real object and its represen-
tation. Scarecrows, snowmen, dolls, models made from food or
junk populate a landscape I want to vividly recreate so that they
become almost alive in the fictional world. cnurse@glam.ac.uk
jan bennett Part-time Lecturer. Jan Bennett’s practice-based
doctoral research project - Scientists,
Monsters and Other Allies:
Hybrid Becomings in Contemporary Art, is
concerned with
the representation of genetically and technologically
modified
humans within contemporary visual art practice and popular
and
scientific media. The study examines their respective roles
in forming
public opinion, as well as in educating readers and
viewers in relation to
potential and developing technologies;
comparing and contrasting the context
for and objectives of
artists and scientists in relation to biotechnology.
Through the
production of artworks which seek to participate in and
chal-
lenge the opposition between progress and transgression in art
and
science, the project investigates how these oppositions relate,
conflict and
intersect. The purpose of the study is to demonstrate
through both theory
and practice, the ways in which the critical
intersection between art and
science informs our understanding
of human being and human becoming.
exquisitecorpse@btinternet.com
daniel allen Award Leader BA Art Practice.
Currently study-
ing a PhD at Bath Spa University my main research interests
focus
on the cognitive decoding of both figurative and non-figura-
tive
portraiture. I have also participated in a number of research
projects
spanning broader concerns within the visual art and
design fraternities. In
recent years I have been the recipient of
two research grants. In 2007 I
worked collaboratively with col-
leagues in the division of Design at the
University of Glamorgan
to produce an interactive and automated brain
theatre. Last year
I worked in association with the National Museum of Wales
on
a series of projects exploring the relationship between artist
and
collections. Having received substantial external funding we
were able to
run three, three-month artist residencies culminat-
ing in a major exhibition
and book publication exploring the role
of the modern museum. Running in
parallel to the culmination
of the Artist-Object Project I convened an
international four day
conference, September 2009. ‘The Go Between’ brought
artists,
curators and academics together to examine the role of artist
as
intervener between museum collections and audiences. I am
currently editing
volume two of ‘the go between¹ book and inter-
active dvd; collating academic
papers and keynote presentations
from the conference. dallen@newport.ac.uk

Glyndŵr
University
Glyndŵr University achieved full university status in 2008. In the
same year, the publication of the latest Research Assessment Exercise
showed that the University had already established an internationally
recognised research profile in six subject areas including Art and
Design.
The research, of which over 50% was adjudged to be of International
standard, is undertaken in eight Research Centres, which provide focus
and leadership, and ensures that a critical mass of expertise is achieved,
including the Research Centre for Art and Design and the Centre for
Pedagogical Research.
Contact: Dr. Peter Heard, Director of Graduate Studies
p.heard@glyndwr.ac.uk
research groups
research centre for art
& design (rcad)
The Centre has a strong focus on collaborative and interdisciplinary research, and sup-
ports applied research and knowledge transfer across the sector. Members of the Centre
have published and exhibited internationally, and have received major national commis-
sions, such as for Terminal 5 at Heathrow Airport and from WAG for the development of
advanced prototypes for exhibitions and display systems using new technologies for poly-
styrene production.
Professor Ian McLaren is Head of the School of Education where RCAD is based and
a member of the Peer Review College of the Arts and Humanities Research Council. He is
also Education Editor for the international graphic arts journal “Baseline”.
contact: p.heard@glyndwr.ac.uk
Glyndŵr University // Research Groups 31
Enillodd Prifysgol Glyndŵr statws prifysgol llawn yn 2008. Yr un
flwyddyn dangosodd canlyniad yr Ymarferiad Asesu Ymchwil (RAE)
diweddaraf fod y Brifysgol eisoes wedi sefydlu proffil a gydnabyddir yn
rhyngwladol mewn chwe maes, yn cynnwys Celf a Dylunio.
Gwneir y gwaith ymchwil, y barnwyd fod mwy na 50% ohono o
safon ryngwladol, mewn wyth Canolfan Ymchwil, sydd yn cynnig
ffocws ac arweinyddiaeth, ac yn sicrhau y cynhyrchir màs critigol o ran
gwybodaeth arbenigol, yn cynnwys y Ganolfan Ymchwil ar gyfer Celf a
Dylunio a’r Ganolfan ar gyfer Ymchwil Addysgol.
Cysyllter â: Dr. Peter Heard, Cyfarwyddwr Astudiaethau Graddedigion
p.heard@glyndwr.ac.uk
centre for pedagogical
research (cpr)
The Centre’s main aim is to promote the development of pedagogical research and scholar-
ship, nationally and internationally, as well as to co-ordinate activity across the University
in this area. CPR’s research crosses disciplinary and professional boundaries, reflecting the
increasing emphasis on relationships between research, scholarship, learning and teach-
ing, and how these underpin and inform curriculum development and enhancement. The
Centre also supports Glyndŵr Universities Continuing Professional Development (CPD)
programme for academic staff.
The Centre focuses mainly on the development and enhancement of research-informed
curricula and pedagogical practice in higher education, but its members have also under-
taken a substantial amount of research in pre-16 education, and in informal and continuing
education. CPR has engaged actively with policy makers, professional practitioners and
research users.
contact: p.bassett@glyndwr.ac.uk
32 Existing WIRAD Research

Existing
WIRAD Research
Creative Pedagogies
The starting point for this research theme is art & design pedagogy. One of the first initiatives arising from the new Creative Pedagogies
The commitment to individual creativity which underpins art & design Theme is a scoping project to determine the feasibility of setting up
education, particularly at HE level, has encouraged the emergence a Welsh Centre for Creative Teaching & Teaching Creativity. This
of radical and effective teaching and learning strategies which are would initially focus on art and design and would be part of the wider
frequently in advance of theoretical models drawn from studies in WIRAD dissemination and engagement aspirations.
psychology, sociology and general education. Here staff are exploring
the extent to which art & design strategies are supported by theoretical
and/or action research studies, looking at the cross-disciplinary and
cross-cultural potential of best-practice in the sector.

research partners
andy penaluna Andy’s doctorate examined the origins of
photographic image manipulation and previously unrecorded
airbrush history. He is a research-active member of the National
Council for Graduate Entrepreneurship (NCGE) and the Insti-
tute of Small Business and Enterprise (isbe).
andy.penaluna@smu.ac.uk 07836 360 834
annie grove-white My research activities span different areas:
from pedagogic research into students’ experience and under-
standings of the relationship between theory and practice, to staff
perceptions of the use and development of IT in art and design
(LTSN supported project). agwhite@uwic.ac.uk, 02920416631
 tute, Cardiff and Coordinator of Programme for Advanced Inter-
cath roche The integration of theory through creative practice.
The relationship between artwork and environment / space.
The relationship and dialogue between artefact and artwork.
The role of maker as curator. cath.roche@colegsirgar.ac.uk,
01554 748211, 0781 3843311
cerys alonso Whilst I teach across several programmes includ-
ing FdA Art and Design, BA(Hons) Applied Arts and MA Con-
temporary Applied Arts, I am the Programme Leader for: FdA Art
and Design, FdA Art and Design for Landscape and FdA Digital
Media Design and Production. FdA Art and Design is also fran-
chised to Coleg Menai and Coleg Llandrillo as well as delivered at
Glyndwr University. I have developed and validated several pro-
grammes at Glyndwr and have been an external panel member for
other validation events across the country.
c.alonso@glyndwr.ac.uk, 01978 293519
dr derek stears BA., DipCDAE., M.Ed., PhD. Main research
interests preparing a book provisionally called ‘Art Inform’ for
Pearson Education (likely publication date October 2010) inves-
tigating UK qualifications in art and design for secondary educa-
tion, for PGCE and subject specialist readership. The key areas of
concern are critical studies and visual culture. Currently working
on an interactive website as part 2 of the book.
janederekstears@supanet.com, 02920513195
dr steve gill Steve is a Fellow of the Higher Education
Academy and a Teaching Fellow of the University of Wales Insti-
active Prototype Research (PAIPR). He has also worked with
a number of major industry partners (Samsung Europe, Sony
Ericsson, Kinneir Dufort Design, Alloy Total Product Design) to
develop new methods of rapidly prototyping complex computer-
embedded products with user interfaces since 2003.
sjgill@uwic.ac.uk, 0292041 6732/6606
emma marshman The Higher Education Academy. The role of
graphic design for the Creative & Cultural Industries in Wales - Is
it informing curriculum design in Higher Education or stifling it?
ejmarshm@glam.ac.uk, 01443 668542
ingrid murphy Currently undertaking a Learning and Teaching
Development Unit funded project exploring advanced techno-
logical learning strategies applied to the delivery of skills teach-
ing in ceramic processes. Interested in undertaking research in
to how creativity is taught in material based disciplines and how
blended learning and specific learning environments may affect
this. imurphy@uwic.ac.uk, 029 20416343
jane davison Currently undertaking a PhD investigating inter-
disciplinary learning in higher education and the relationship
between policy and practice in higher education.
jane.davison@newport.ac.uk, 077147 12543
tracy pritchard’s research has mainly been in the area of
pedagogy concentrating on theory and practice, however during
the past year she has conducted a research project looking at the
effects both positive and negative on the impact that international
exchange students have on the workroom environment.
tpritcha@glam.ac.uk
ruth dineen’s main research field is in the promotion of cre-
ativity in education internationally. Has undertaken a compara-
tive project with Sichuan Institute in China leading to an exhi-
bition and public seminar about creative education held in the
UK and China (April 2007). Instigated the HEA ‘Creativity or
Conformity’ conference which UWIC hosted in January 2007.
rdineen@uwic.ac.uk, 02920 416633
steven keegan Keegan’s researches have two interwoven ele-
ments underpinning his practice; firstly, the historical use of figures
in literature and visual arts and secondly the study of enhanced
curricula activity through industrial partnerships, commissions
and competitions. s.keegan@glyndwr.ac.uk, 01978293522
dr gary m. pritchard is currently engaged in developing the
theme of his doctoral thesis, ‘strengths-based education’, which
encourages students to focus on developing their talent and
strengths as their primary motivation.
gary.pritchard@newport.ac.uk, 01633 432175, 07738 198889

dr stephen thompson’s main research field is the philosophi-
cal and pedagogical implications of emerging technologies and
emerging design practices.
sthompson@uwic.ac.uk, 02920 416308
mark cocks PhD research into the implications of chemical and
digital technology on the learning, teaching and assessment of
photographic degree students.
mark.cocks@smu.ac.uk, 01792 481021
sion hughes Most recently Sion has played a key role for
Glyndwr University developing international collaborative rela-
tionships. This is now his main research interest, in particular,
pedagogically-based research which explores the issue of how to
develop teaching and learning strategies which effectively nurture
creative thinking and innovative visual and material based prob-
lem-solving within diverse and cross cultural scenarios.
s.hughes@glyndwr.ac.uk, 01978 293501
chris glynn Glynn has been engaged in creative pedagogy
across the arts since 1986 when he took a PGCE at Goldsmiths
College under Dame Janet Ritterman, specialising in connections
between music, drama and visual art. cglynn@uwic.ac.uk,
www.csad.uwic.ac.uk/illustration, 029 20417085
ruth matheson, MSc, Dip COT, CMS, FHEA has a particular
research interest in human creativity and has undertaken research
on the promotion of creativity through problem-based learning;
Clive Landen, from the series, Space Invaders,
2005 (ongoing)
Existing WIRAD Research // Research Partners 33
other research interests include the development and assessment jo walter Interests include organisational culture and change,
of reflection, all aspects of learning and teaching, and the impact communities of practice and collaborative working.
of occupation of health and well-being. rmatheson@uwic.ac.uk, jo.walter@smu.ac.uk, 07828 490502
029 20201535
andy roberts Andy’s research area is understanding the student
dr kate e taylor Representation of the body in cinema, dance, as an individual: his PhD looked at how cognitive styles and other
theatre and art: with special reference post-modern and Feminist individual differences affected students performance in architec-
visual theory; Women and Visual Culture: including French, tural design project work and his current research focuses on how
British and American directors; feminist film theory and the role we might encourage students to engage in reflective practice, and
of women in film and cultural history; Globalisation and Visual is looking at how individual differences might impact upon this.
Cultures: with particular emphasis on Japan, South Korea and robertsas@Cardiff.ac.uk, 029 2087 4602
the representation of Women and other minority groups; Visual
cultures and Arts of East Asia: history, theory, development and james ison My practice has evolved in the space between tra-
culture with special reference to questions of Nationhood and ditional workshop craft and fine art textiles, and explores the
Post-war Trauma. cos601@bangor.ac.uk, 01248 383656 tactile qualities of objects and materials in relation to the body;
my current research project, Boys don’t make ball gowns, son,
paul croft The integration of studio-based research - primarily unpicks the notion of the gendered pathway within the textiles
concerned with lithographic practice and collaboration - into the discipline of art education. jison@uwic.ac.uk, 029 2041 6291
pedagogical environment and research into the interfacing tech-
niques of stone lithography and computer-generated drawing.
puc@aber.ac.uk, 01970 622460, 07950 490154,
www.paulcroft.org
desdemona mccannon I have a strong interest in analogue
design solutions, the importance of craft and making in the design
process, designers as producers, how innovation and entrepe-
neurship can be fostered in design education and the primacy of
drawing and strategies to express non verbal thinking.
d.mccannon@glyndwr.ac.uk, 01978 293 528