The Conjugated Museum
The Conjugated Museum
A year-long research residency at The Fitzwilliam Museum. From March 2018 to March 2019. The final result for the project was a cycle of 40+ digital images printed on bible paper, some of which can be seen in the GALLERY. A transparent book and a video interpretation of the experience of reading the book, rather than an exhibition, records the final presentation of the work.
The Conjugated Museum transparent book is a palm-sized book that visualises the temporal disruption of memory within the act of looking.
The Conjugated Museum video is an animated interpretation of the transparent book reading experience.
In 2018 I was given access to The Fitzwilliam Museum Collections for a year-long research residency. Using my mobile phone, like so many other visitors to museums these days, I photographed works that ‘pulled me in’ through an intuitive act of looking. The process of making alterations to the imagery from the Museum was never intended as ironic or to be taken as institutional critique. Instead, my purpose was to explore how seeing was transformed in real time and to understand how my own process of looking maps onto unknown cultural objects. And also, to understand how objects were being transformed by these processes. The latter was perhaps the most challenging, because these transformations would not be visible—could not be made visible; they would remain in a latent state. The fact that I created imagery exemplifying these kinds of alterations, does not mean that I actually succeeded in visualising the transformations. It only means that I created examples of what these changes might look like. Therefore, the space of these images is neither photographic nor cinematic—the space is virtual, with temporal disruptions, cascading fluid repetitions, spatial displacements and isometric geometries.
Read the full research report.
Phantom
Phantom
Kirsty Harris, Marion Piper, Tim Skinner, Rachel Smith,
Caroline Jane Harris, Julia Court, Kate Palmer, Niki Hare,
Holly Rowan Hesson, and Jane Boyer
Curated by Jane Boyer
26 Jan to 18 Feb, 2017
Ruskin Gallery
Anglia Ruskin University
Cambridge UK
Phantom, the second research project for my PhD, focused on the artist-curator curating her work in conjunction with other artists in a group exhibition. Phantom presented an exhibition of works which explored latency and the processes of translation that considered the artists’ own historical polyphonic narratives. The issues investigated in this study involve questions of the self for the artist-curator within a group context, while significant emphasis continued to be given to the appearance of the simulacrum and the locations where it appears within the project.
The study was designed in five parts: first and foremost, as a practice-based research enquiry through the experience of curating my work in conjunction with the work of other artists, while observing outcomes and responses of those artists and the audience. The premise of this project explored latency and the polyphonic narrative; all the voices from our past which results in an implicit process of translation. Phantom postulated that through the influence of these voices and their latency, translation becomes a site for a simulacral divergence where the present is disrupted by meaning from the past, or purpose becomes displaced and transmutes into something other.
A project space called ‘I’
A project space called ‘I’
Solo exhibition
Curated by Jane Boyer
4 to 24 Sep 2015
Arthouse1 Gallery
London
A project space called ‘I’ was my first research project. It was a solo exhibition that I curated. It raised the question what is the difference between an exhibition of an artist’s work, and an exhibition of work curated by an artist? My answer is that it comes down to the process of selection. An exhibition of work will most likely be the latest work produced. An exhibition of work curated by the artist will travers the time of production, selected in response to a theme or project concept. The works selected for A project space called ‘I’ were selected for their relevance to the expression of self.