Maia Conran
Maia Conran’s research interrogates the structural forms of film and photography production and disstribution. Her artworks challenge the politics of these infrastructures and seek to offer a critical and collaborative methodology of resistance. Through movement, voice, and collage she leverages the everyday to reflect on institutional power structures.
Residencies have been instrumental to devloping Maia ‘s artwork. She has been selected for residencies in the National Slate Museum of Wales, Cardiff Contemporary Arts Festival, Kingsgate Workshops, London, Standpoint, London, and at Station in Bristol.
Maia has exhibited extensively in collaborative and group exhibitions internationally. Her work has also been selected for international awards, film festivals, group exhibitions, screenings. Her solo exhibitions include Grand Union (Birmingham), G39 (Cardiff), IMT Gallery, Kingsgate Workshops (both London), Phoenix Gallery (Exeter) Bristol Diving School (collaboratively as Conran and Haimes) and Skelf online project space. A single screen version of her multi-screen film Term was published on DVD by Filmarmalade and her work is the subject of a monograph entitled Here is the Yard published by Grand Union Gallery. Her screenplay Monkey Puzzle was a podcast for Quote Unquote in 2020.
Maia is the Course Leader for BA (Hons) Fine Art Photography at Camberwell College of Art and the Hornimana and UAL Museum Arts Fellow.
www.maiaconran.com
Contact here.
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Maia Conran’s research interrogates the structural forms of film and photography production and disstribution. Her artworks challenge the politics of these infrastructures and seek to offer a critical and collaborative methodology of resistance. Through movement, voice, and collage she leverages the everyday to reflect on institutional power structures.
Residencies have been instrumental to devloping Maia ‘s artwork. She has been selected for residencies in the National Slate Museum of Wales, Cardiff Contemporary Arts Festival, Kingsgate Workshops, London, Standpoint, London, and at Station in Bristol.
Maia has exhibited extensively in collaborative and group exhibitions internationally. Her work has also been selected for international awards, film festivals, group exhibitions, screenings. Her solo exhibitions include Grand Union (Birmingham), G39 (Cardiff), IMT Gallery, Kingsgate Workshops (both London), Phoenix Gallery (Exeter) Bristol Diving School (collaboratively as Conran and Haimes) and Skelf online project space. A single screen version of her multi-screen film Term was published on DVD by Filmarmalade and her work is the subject of a monograph entitled Here is the Yard published by Grand Union Gallery. Her screenplay Monkey Puzzle was a podcast for Quote Unquote in 2020.
Maia is the Course Leader for BA (Hons) Fine Art Photography at Camberwell College of Art and the Hornimana and UAL Museum Arts Fellow.
www.maiaconran.com
Contact here.
Smriti Mehra
Smriti Mehra is an artist and educator from Bangalore, India. Moving image forms a large part of her practice. As a storyteller, she employs ethnographic research methods to unearth local perspectives in her non-fiction practice. Interacting with Bangalore’s ever-changing, ever-growing residents with their multi- lingual, cultural, economic backgrounds she has become a mapmaker of sorts. Mapping the desires, hopes, needs, dreams and disparities of this city from her particular vantage point has been born out of a desire to establish reference points for her own personal memories. She is both a purveyor of information, and storyteller and like the mapmaker challenged by taking the mundane and every day, and unravelling and reassembling these details into visible intricacies.
Her work deals with issues of labour, material culture, identity and memory and has shown widely internationally.
Smriti earned her MFA in Media Art from NSCAD University at Halifax in Canada with a scholarship from the AAUW Educational Foundation. She has been an artist-in-residence at the Centre for Experimental Media Art and has taught at the Srishti Institute of Art, Design and Technology.
She is currently the year-one leader of BA Fine Art Photography as well as a Senior Lecturer working across Fine Art at Camberwell College of Arts.
www.smritimehra.com
Contact here.
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Her work deals with issues of labour, material culture, identity and memory and has shown widely internationally.
Smriti earned her MFA in Media Art from NSCAD University at Halifax in Canada with a scholarship from the AAUW Educational Foundation. She has been an artist-in-residence at the Centre for Experimental Media Art and has taught at the Srishti Institute of Art, Design and Technology.
She is currently the year-one leader of BA Fine Art Photography as well as a Senior Lecturer working across Fine Art at Camberwell College of Arts.
www.smritimehra.com
Contact here.
Mervyn
Arthur
Working
mostly with photography and both found and constructed objects, Mervyn Arthur's
practice explores the transformative capabilities of the photographic process.
Recent projects have involved re-mapping everyday objects (Camera Interiors, Objects about something else) and constructing
simple sculptural forms derived from the screen image (Screen Test, Slipshod). His latest work
is based on the re-modelling of public/virtual architectural spaces.
Mervyn has exhibited in various selected group shows both abroad and in the UK including What is Research at UAL 2017, SOLAS Photographic Prize at the Museum of Photography Ireland, 2015, Scope: new photographic practices in Beijing, China, 2011 and at EASTinternational, 2009. His work has been published in Philosophy of Photography in 2012 and in SOURCE in 2015 and 2008.
Mervyn has lectured in fine art photography at Camberwell College of Arts UAL since 1997 and has led workshops at CAFA in Beijing (2017), Yarat in Baku (2013), and Falmouth University (1997).
Image: galleria, c type, size variable, 2023.
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Mervyn has exhibited in various selected group shows both abroad and in the UK including What is Research at UAL 2017, SOLAS Photographic Prize at the Museum of Photography Ireland, 2015, Scope: new photographic practices in Beijing, China, 2011 and at EASTinternational, 2009. His work has been published in Philosophy of Photography in 2012 and in SOURCE in 2015 and 2008.
Mervyn has lectured in fine art photography at Camberwell College of Arts UAL since 1997 and has led workshops at CAFA in Beijing (2017), Yarat in Baku (2013), and Falmouth University (1997).
Image: galleria, c type, size variable, 2023.
Melinda Gibson Melinda Gibson, born 1985 UK, is an artist based in London. Melinda works at the boundaries of Photography; her practice is grounded in contemporary visual digestion through the appropriation and re-invention of existing material. She is a Senior Lecturer and Third Year Leader of BA Fine Art Photography at Camberwell College of Arts.
Melinda has exhibited widely across Europe, United States and Australia, with selected shows including; Beg, Steal and Borrow, Bermondsey Project Space, (London 2020), Reversiones, Centro de la Imagen, (Mexico City), A Motley Crew, Christian Larsen Gallery (Stockholm), Surface Tension, FOMU (Belgium), Summer Exhibition, The Royal Academy of Arts (London), Second Hands, Galerie Binome, (Paris), Her First Meteorite, Volumes I & II, ROSEGALLERY (Santa Monica), The Smoke House, Performative Installation, Turbine Hall Tate Modern, (London) The Constructed View: UK Photography Now at Dong Gang Museum of Photography (South Korea) In Appropriation, The Houston Centre of Photography (Houston) and Alice in Wonderland, Logomo Turku, The European Capital of Culture (Finland).
Melinda is a recipient of Foam Talent Call and Magenta Foundation Awards and is the author of three titles, including the award winning reworked The Photograph As Contemporary Art, Miss Titus Becomes A Regular Army Mac and SPBH Book Club Volume VI.
https://rosegallery.net/artists/67-melinda-gibson/overview/
In progress website: http://melindajgibson.com/
Contact here.
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Melinda has exhibited widely across Europe, United States and Australia, with selected shows including; Beg, Steal and Borrow, Bermondsey Project Space, (London 2020), Reversiones, Centro de la Imagen, (Mexico City), A Motley Crew, Christian Larsen Gallery (Stockholm), Surface Tension, FOMU (Belgium), Summer Exhibition, The Royal Academy of Arts (London), Second Hands, Galerie Binome, (Paris), Her First Meteorite, Volumes I & II, ROSEGALLERY (Santa Monica), The Smoke House, Performative Installation, Turbine Hall Tate Modern, (London) The Constructed View: UK Photography Now at Dong Gang Museum of Photography (South Korea) In Appropriation, The Houston Centre of Photography (Houston) and Alice in Wonderland, Logomo Turku, The European Capital of Culture (Finland).
Melinda is a recipient of Foam Talent Call and Magenta Foundation Awards and is the author of three titles, including the award winning reworked The Photograph As Contemporary Art, Miss Titus Becomes A Regular Army Mac and SPBH Book Club Volume VI.
https://rosegallery.net/artists/67-melinda-gibson/overview/
In progress website: http://melindajgibson.com/
Contact here.
Duncan Wooldridge
Working directly onto postcards found in museum gift shops, Duncan's practice highlights the flawed nature of recreating conceptual and minimalist artworks onto documents. By slightly modifying these commercialised reproductions of original artworks, Duncan further complicates the way art history is revised, interpreted and exchanged by entwining his own mythology into the process.
Duncan’s work is regularly exhibited at major museums throughout the UK, including Spike Island (Bristol), Hayward Gallery and The Royal College of Art (both London). He also curated Anti-Photography at Focal Point (Southend) in 2011, and is a regular contributor to Source, Eikon, Untitled and Art Monthly.
Duncan is currently conducting doctoral research in the Department of Art History and University College London on the work of German Anti-foto artist Hans-Peter Feldmann.
www.duncanwooldridge.com
Contact here.
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Working directly onto postcards found in museum gift shops, Duncan's practice highlights the flawed nature of recreating conceptual and minimalist artworks onto documents. By slightly modifying these commercialised reproductions of original artworks, Duncan further complicates the way art history is revised, interpreted and exchanged by entwining his own mythology into the process.
Duncan’s work is regularly exhibited at major museums throughout the UK, including Spike Island (Bristol), Hayward Gallery and The Royal College of Art (both London). He also curated Anti-Photography at Focal Point (Southend) in 2011, and is a regular contributor to Source, Eikon, Untitled and Art Monthly.
Duncan is currently conducting doctoral research in the Department of Art History and University College London on the work of German Anti-foto artist Hans-Peter Feldmann.
www.duncanwooldridge.com
Contact here.
Claire Undy
Claire Undy is an artist based in London whose studio practice incorporates performance, photography and the dismantling and dissemination of the moving image.
Recent work has taken the form of flip books, zoetropes and lenticular images to hand the agency of a performative act to the viewer. Absurdity, futility and the suspension of disbelief are regular themes.
Claire’s work has been exhibited at Five Years Gallery, Brighton Photo Fringe, One Minute Moving Image Festival, Charlie Smith Gallery, WW Gallery and the ICA. She is also the curator and programmer of the virtual project space skelf.org.uk.
www.claireundy.com
Contact here.
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Claire Undy is an artist based in London whose studio practice incorporates performance, photography and the dismantling and dissemination of the moving image.
Recent work has taken the form of flip books, zoetropes and lenticular images to hand the agency of a performative act to the viewer. Absurdity, futility and the suspension of disbelief are regular themes.
Claire’s work has been exhibited at Five Years Gallery, Brighton Photo Fringe, One Minute Moving Image Festival, Charlie Smith Gallery, WW Gallery and the ICA. She is also the curator and programmer of the virtual project space skelf.org.uk.
www.claireundy.com
Contact here.
Sigune Haman
Sigune Hamann is an artist and Reader in Art and Media Practice. Sigune’s research investigates perception and attention through expanded photography and interdisciplinary collaboration. Her practice-based inquiry involves ideas of fragmentation, montage, multiple viewpoints, embodiment, and the space of relations.
Sigune negotiates the relationship between photography (image) and time-space correlations. Examples of this are installations with film-strip from analogue panoramic photographs exposed in 360-degree panning vistas of public gatherings and places.
Sigune’s current work advances image inquiry through field and archive research: The projects What is Where? Hannah Höch's House and Kurt Schwitters' Merz Barn as Work in Progress explore how artists can engage with and mediate radical modernist positions that became side-lined and are now in danger of being lost.
Sigune Hamann curated the conference Stillness and Movement for Tate Modern.
Educational collaborations include The Changing Perception of Images, a UAL competition across all levels and disciplines for the Wellcome Collection Windows, Interpreting Objects with Camberwell Collection, Nissen Richards Architects and the V&A, funded by Creativeworks London; Negotiating and inhabiting space with Lambeth Council; the Camberwell Book Prize with Duncan Wooldridge, BA Photography and Shared Language, a platform for art/design and science students with Oxford University and Jonathan Kearney, MA Fine Art Digital CSM.
Contact here.
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Sigune Hamann is an artist and Reader in Art and Media Practice. Sigune’s research investigates perception and attention through expanded photography and interdisciplinary collaboration. Her practice-based inquiry involves ideas of fragmentation, montage, multiple viewpoints, embodiment, and the space of relations.
Sigune negotiates the relationship between photography (image) and time-space correlations. Examples of this are installations with film-strip from analogue panoramic photographs exposed in 360-degree panning vistas of public gatherings and places.
Sigune’s current work advances image inquiry through field and archive research: The projects What is Where? Hannah Höch's House and Kurt Schwitters' Merz Barn as Work in Progress explore how artists can engage with and mediate radical modernist positions that became side-lined and are now in danger of being lost.
Sigune Hamann curated the conference Stillness and Movement for Tate Modern.
Educational collaborations include The Changing Perception of Images, a UAL competition across all levels and disciplines for the Wellcome Collection Windows, Interpreting Objects with Camberwell Collection, Nissen Richards Architects and the V&A, funded by Creativeworks London; Negotiating and inhabiting space with Lambeth Council; the Camberwell Book Prize with Duncan Wooldridge, BA Photography and Shared Language, a platform for art/design and science students with Oxford University and Jonathan Kearney, MA Fine Art Digital CSM.
Contact here.
© Camberwell Fine-Art: Photography
University of the Arts London.