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As part of my coursework I conducted primary and secondary research into two main areas: Contextual research and Professional research.


It was important to reference the various artists and their work that I found influential to my practice. This included Rafael Lozano-Hemmer, in particular his installation ‘Zoom Pavilion’ (2015), where I felt prompted to utilize technological equipment and algorithms, and consider how the public may interact with projections of such substance. Also Gustav Metzger‘s ‘Liquid Crystal Environment’ (1965) was another example of where technology was central to the piece, creatively constructing both the content and the immersive space of the installation. Sam Smith‘s NOTES (2014) was a live video essay performance that brought together images by operating a computer. Seeing how the technology was being utilized to create a live performance inspired me to consider the live audiences role as being a part of the work, evidencing how the digital is penetrable by the physical.

My development included exploring virtual reality and video art where I used a creative platform to create a virtual reality environment. Implementing various media in a format that the viewer could interact with. I used video editing software to compile recordings of the environment, which would be the main content of the work to be projected in the physical space.

To broaden my knowledge on the contemporary art scene and situate my own work in a professional capacity I documented my reflections on exhibitions I had visited. This included Daisyworld by Genetic Moo, in which the incorporation of technology and computer generation was inspiring. The exhibition also gave me the opportunity to witness projector usage in a dark physical space with computer generated content which are all fundamental aspects to my work. Also The Sound Of Somebody Changing Their Mind by Beth Kettle was another exhibition that used projectors in a dark space, although the content wasn’t especially relatable I found interest in how the physical space can be utilized to portray the projections, specifically the artist had used various materials to project onto. People (2021) by Mélanie Matranga was another exhibition that used projector to display video art, and again although the content wasn’t relatable to my practice, being able to see how dark spaces are functionalized in a professional exhibition space was useful. Further researching relatable exhibits and artist’s work, Mariner 9 was created using scenery-generation software presented using a projector. These exhibitions helped situate my work, in which I use external projectors to manipulate a physical environment using digitally created material.

As part of my contextual research I also documented two artist talks I had attended. These were Trevor Burgess who uses inverse color that irrupts suddenly into his work in radical reaction to the shock of the Brexit referendum result in 2016, and Grace Ndiritu whose artworks are concerned with the transformation of our contemporary world. In Dissent Without Modification: The 1990s Grace Ndiritu takes readers on a circular, revealing expedition into the recent past, sharing its impact with a new generation of readers. By attending these talks I was able to witness how fine artists operate on a professional scale, and gain insight into contemporary art topics and themes.


As part of my professional research I created a professional WIX artist website. Owning an artist website can help establish your image as a professional and provide a real boost to your creative business. I also conducted an artist CV this is an overview of my artistic professional history and achievements which is important when applying for residencies, exhibitions or other professional opportunities.

Further to my professional research I looked into the professional potential of new media thinking about the job roles that can emerge from my interest shown through my practice. In a digital age, there is an abundance of experience and career opportunities one can gain from such venture. I also investigated into the job role of an artist assistant, considering online applications and local opportunities. Working as an art assistant can also boost the career of an emerging artist, give them access to high profile contacts and high quality materials, and help set the foundations for their own blossoming art practice.

I also documented the various email conversations I had with various departments within the university. By getting in contact with various departments and staff I was able to reserve equipment, gain research prompts and practice communication skills.

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