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My research interests can be characterised overall as being concerned with what the philosopher Peter Osborne has termed ‘postconceptual art’. This refers to Osborne’s analysis of how art practice and theory radically shifted its self-critical understanding of its relationship to aesthetics, the socio-political and other non-art, visual-culture forms during the mid to late 1960’s transforming into the mode of what the art historian and theorist Rosalind Krauss has called the ‘post medium condition’ or what Osborne prefers to call the ‘transmedia condition’.
Another key aspect of my research interests and practice that can be mapped onto this historical shift relates to how the aesthetic – or indeed, anti-aesthetic - dimension of the artwork mediates the social, political and other non-art forms of visual culture, via its concepts and its materiality; its modes of production and distribution. This formulation of how an artwork produces meaning offers a more fruitful methodological alternative to the usual categorisations of abstract - figurative, art - non-art, or medium specific modes of art production.
A specific example of the mediation of non-art forms that I haves incorporated into my practice over the years – using painting, text/object installations and photography - is the critical relationship between art & architecture. My most recent project in the development of this research is a publication I co-edited with Dr Edward Whittaker entitled, Painting With Architecture in Mind (2012), with essays from contributors whose specialisms include: architectural theory & practice, contemporary European philosophy, critical theory and art history.