Teaching

Visual Analysis lecture series

In two lectures on formal analysis, I introduce key elements such as colour, composition, form, line, and space, which deepen understanding of an artwork’s meaning and emotional resonance. Recognising the interplay of these elements enhances appreciation of technical skills and fosters critical thinking. This structured framework facilitates clearer communication of ideas, allowing students to articulate personal emotional responses to the work. I emphasise that formal analysis involves description, examination, and interpretation using appropriate terminology, practised through group exercises and writing tasks.

In the semiotic analysis lectures, I cover Saussure’s signifier and signified, Pierce’s categories of icon, symbol, and index, and Barthes’ ideas on polysemic images. Students learn to identify denotations and connotations through linguistic and visual examples, engaging in group exercises related to visual advertisements.

The contextual analysis lecture demonstrates the importance of examining artworks within broader social, cultural, and historical contexts. I stress that every image reflects specific cultural values. As a case study, I reference the toppling of the Colston Statue in Bristol and delve into Edward Hopper's ‘The House by the Railroad,’ discussing its cultural influence in works such as Hitchcock’s ‘Psycho’ and Cornelia Parker's ‘Transitional Object Psychobarn.’

Methods & Methodology: Practice as Research 

Introduction to how contextual frameworks can guide the practitioner to produce more nuanced and ethical outcomes. I discuss diverse research methods in art and design, highlighting Christopher Frayling’s framework, which distinguishes between research into, through, and for art and design, particularly in illustration. I also discuss Henk Borgdorff’s concept of artistic research that unfolds within the creative process itself. I stress the importance of rigor in our practices, encouraging a view of challenges as part of the learning process, with an emphasis on critical reflection and thoughtful analysis. Finally, I prompt participants to reflect on their project aims, suitable research methods, and factors influencing their results, ensuring a thorough and justifiable approach in their creative practices.

The Death of the Author

In this lecture, I explore the concept of authorship and Roland Barthes’ essay ‘The Death of the Author.’ I present the historical context of authorship, noting how artworks were often anonymous in the Medieval period but became more individualised during the Renaissance, with Giorgio Vasari’s biographical approach celebrating individual genius. Barthes’ postmodern work marks a transition from structuralism to post-structuralism in literary theory, encouraging a view of texts that embraces multiple meanings and promotes a democratic understanding of creativity and interpretation. I show examples of how these two ways of thinking about authorship continue to be reflected in contemporary arts culture.

Aura, Art & A.I.

In this lecture I discuss Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction" and its relevance to contemporary culture. I provide a short introduction to the writer followed by summarising key ideas of the essay including production and reproduction; value; aesthetics of politics; aura and authenticity. This leads into discussion of if, and how, artificial aura can be examined with digital dematerialised artworks and algorithmic aesthetics. Lastly, I explore both the affordances and anxieties A.I. gives to contemporary arts practices, highlighting the importance and usefulness Benjamin’s essay can provide for critical examination of such work.

Walking as arts practice

In this lecture, I explore how walking, rooted in the practices of ancient philosophers and modernist figures, is more than a means of transport; it fosters a sensual engagement with our surroundings and encourages intimate knowledge of the landscape. I discuss how walking can stimulate creativity, aid in problem-solving, and facilitate self-reflection through slowing down in a fast-paced world. I touch on the history of walking in art and literature, mentioning figures like the flâneur and the Walking Artists Network, and bring forth several examples of artists who utilise walking in their creative practice such as Richard Long, Marina Abramovic, Janet Cardiff, Sophie Calle, and Bani Abidi.

Aesthetics and Ethics of Repair and Damage

In this lecture, I examine the term 'repair'; encompassing various materials and actions aimed at restoring broken objects, as well as intertwined with historical themes of religion, health, and finance. I consider how breakage can enhance our appreciation of an object's meaning. In this regard, I reference the philosophy of Kintsugi that celebrates repair as a part of an object's history, encouraging us to rethink notions of 'originality' and authenticity; and  Graham Harman's idea that objects are liberated through their breakdown. 

I use several case studies to explore literal and metaphorical presentations of damage and repair. Architect Carols Quevedo Rojas’ restoration of Matrera Castle in Spain is compared with antiquarian Sir Arthur Evans’ intervention with the Palace of Knossos. Ai Wei Wei’s cracked ‘bubble’ and subsequent ‘left right studio material’ are analysed in relation to Benjamin’s essay The Storyteller. Contextual and metaphorical breakage and repair as a narrative device is examined via W.G. Sebald, Tacita Dean and my own past practice. I then concentrate on a project that featured in my doctoral studies and was published (The Damage that Decorates); this illustrative examination of Blitz-damaged ceramics reconsiders our relationship with damaged objects. Flaws and imperfections can tell stories about history and our aesthetic values, inviting reflection on our attitudes towards ‘ruin lust’ and the beauty found in imperfection.

Empathic Methodology for Creative Practice

In this lecture, I examine how illustration can serve as an empathic arts practice, allowing visual creators to connect with people from the past and evoke emotional understanding. I define empathy as a broad ‘umbrella term’ with varying meanings in psychology, sociology, and aesthetics. It first appeared in English in 1909 as a translation of the German word "einfühlung," meaning 'feeling into,' highlighting how we project our feelings onto art. I discuss the history and etymology of empathy and connect it to concepts of physical affection and immersion in art. I also touch upon phenomenology, focusing on individual subjective experiences. A significant part of my talk centres on Edith Stein, a key philosopher in this area. I present how I interpret her empathic theory into a vital methodological tool for creative practitioners, enabling meaningful connections and richer understanding of human experiences. Finally, I utilise examples of creative practice made during my doctoral studies to demonstrate this.

Oulipo

In this lecture, I explore the literary movement Oulipo, which rejects spontaneity, favouring structured constraints to expand the possibilities of literature. I discuss the origins and influences of the movement and key members; creative constraints they employed; collaboration and criticism of the Oulipo; and its influence on visual artists and designers such as Jenny Holzer, Sophie Calle, and Christian Bök. Students participate in Oulipo style exercises for visual practice.

Postmemory and Illustration: working with, from and through the past

In this lecture, I explore the concept of postmemory, introduced by Marianne Hirsch, and its connection with visual culture, especially in illustration and graphic literature. Postmemory allows generations after a traumatic event to connect with the memories of those who lived through it, encompassing a wider range of traumas beyond just Holocaust survivors. It is formed from fragments of stories and images, often leading inheritors to creatively engage with these memories, acknowledging both presence and absence. I highlight the silence surrounding trauma, which can be inherited and complicates future generations’ connections to these histories.

I use examples from Miriam Katin, Art Spiegelman, Line Hoven, and Nora Krug to illustrate how graphic novels demonstrate postmemory practice. This culminates in a self-reflective analysis of my own postmemorial experiences in my doctoral studies, which has been shared at academic conferences and is being developed into an article for the Journal of Illustration.

Decolonisation and Design

A critical studies reading group module that explores decolonisation and decoloniality in graphic design adapted from Bloomsbury Publishing and Decolonising Design Group. Over five weeks, students engage with diverse texts to analyse and reflect on the political, cultural, and material impacts of colonialism. The module encourages critical examination of Eurocentric perspectives in design while incorporating undervalued knowledge and cosmologies into design practices.

Each week involves readings, discussions, and reflections documented in a research journal to prepare for individual pecha kuchas on chosen topics. By the end, students gain a nuanced understanding of how decolonial approaches can influence contemporary design, promoting more inclusive methodologies and challenging dominant narratives.