Duncan Wooldridge

Course Director BA (Hons) Photography

Central Saint Martins

Biography

Duncan Wooldridge is an artist, writer and curator. He is the Course Director for BA (Hons) Photography at Camberwell College of Art. His practice concerns practices of repetition, alteration and customisation, especially in the uses and possibilities of reproducible images and objects.

Recent curatorial work includes the two-site group survey exhibition, Anti-Photography, at Focal Point Gallery and Beecroft Art Gallery, Southend, in 2011, and John Hilliard: Not Black and White, at Richard Saltoun Gallery, London, in 2014. A parallel book, ‘John Hilliard: Not Black and White’, is published by Ridinghouse.

Duncan writes regularly for magazines including Art Monthly, Source, Eikon (Vienna), Elephant, and 1000 Words Magazine.

Research interests

Critical artistic practice, especially surrounding conceptual art, appropriation, ownership and Intellectual Property. Photographic art practices with a focus on experimentation, image materiality, found and vernacular imagery, abstraction and interruption.

Biography

Duncan Wooldridge is an artist, writer and curator. He is the Course Director for BA (Hons) Photography at Camberwell College of Art. His practice concerns practices of repetition, alteration and customisation, especially in the uses and possibilities of reproducible images and objects.

Recent curatorial work includes the the two-site group survey exhibition, Anti-Photography, at Focal Point Gallery and Beecroft Art Gallery, Southend, in 2011, and John Hilliard: Not Black and White, at Richard Saltoun Gallery, London, in 2014. A parallel book, ‘John Hilliard: Not Black and White’, is published by Ridinghouse.

Duncan writes regularly for magazines including Art Monthly, Source, Eikon (Vienna), Elephant, and 1000 Words Magazine.

Research statement

Wooldridge's practices concern the possibilities of critical art in its uses of what Vilem Flusser called ‘The Universe of Technical Images’: the widespread adoption of mechanically reproducible technologies, such as photography, video, digital text, 3D printing, and printmaking, in a culture of dematerialised labour and supposedly ethereal or immaterial technologies. 

Beginning with photography, it is concerned with the everyday uses of readily available images, especially the reproduction of the work of art, which represents a kind of ‘zero degree’ of all photography. His practice focuses on making visible the decisions, constructs and expectations that surround reproduction images, and sets out to explore their possibilities through subtle alterations or extensions of the image’s functions.

His writing and curatorial projects recently have explored the emergent materialities of photographic images in the light of the web’s wireless ephemerality. It explores the expanded possibilities for photography as a medium that occurs when the technological obsolescence of the photographic image, originally used as an authoritative and objective documentation device, is adopted for alternative purposes that expand or propose new uses for the medium.