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Warwick Stafford Fellowship Profiles

Previous Fellows of the Warwick Stafford Fellowship. The Fellowship is an annual prize aimed at early career practitioners in Fine Art.

The Fellowship offers artists who are just starting their careers a structured opportunity to advance their practice and research and engage with a stimulating community of professional artists, students, Fine Art Researchers and the BALTIC Centre for Contemporary Art partners.

Having now been successfully running for a few years the Fellowship has seen many artists apply to become a fellow. Below you will find biographies on our previous and current Warwick Stafford Research Fellows. 

Eleanor Wright: Warwick Stafford Fellow 2012-2013


Wright works across media, including large-scale installations, sculptures, prints and sound works. She is exploring the relationship between sculpture, architecture and built environments and the disparity between virtually designed objects and their physical renditions.

Wright's Fellowship culminates in a solo exhibition at Gallery North which opens on Thursday 12 September 2013 and runs until 17 October 2013 and she will be organising a half-day symposium, which will be an extension of the exhibition. This will operate under the umbrella of the two-day ‘Utopography’ workshop co-organised by Dan Smith, Senior Lecturer in art theory at Chelsea College of Art and Design, and Adam Stock, Post-Doctoral research Associate in the School of English Literature, Language and Linguistics at Newcastle University. 

Comprising of talks, a film screening and a lecture/slide based performance, this will focus on relationships between sculpture, architecture and the built environment. The event will also explore the experiencing of architecture and subject/object relationships such as embodiment, dismemberment, prosthetics and annihilation.

Key topics will include:

• City branding, civic iconography and contemporary global architecture
• Exploring the juncture between a virtually designed object and its physical rendition.
• The tangibility of surfaces characterized by low-level reflective cladding and the definition of forms and edges of buildings. 
• The skin of buildings 
• Building as pop sign or media logo
• New formal possibilities enabled by parametric design and CAD
• Multiplicity and plurality; flows, networks and maps replacing grids, structures and history. 

The exhibition and symposium will be supported by a publication of Wright's research.

www.eleanorwright.net

Luke McCreadie: Warwick Stafford Fellow 2013-2014

Luke McCreadie is the Warwick Stafford Research Fellow for 2013/14

Luke McCreadie uses sculpture, film, performance and music as methods of making to produce a single body of work, each part building upon the other. His practice is defined through a complex and shifting set of interests and engagements with the world. Its multifarious approach, whilst basing itself in sculpture, uses film and performance as a way to relocate and even undermine objects. Language and its representation is also a recurrent theme. McCreadie uses the way words exist in the world and how, through their saturation, there is a point where they become nonsense. He takes confusion, mis-communication and mistakes as a positive starting point. McCreadie’s work often borrows imagery from art history, attempting to expose the lunacy of a historical grand narrative. Henry Moore’s sculptures made into lamps or Bauhaus masked men giving a talk from behind a sculpture, without speaking and communicating only in clay. The crisps ‘Wotsits’ form a shorthand for sculptural language but also a red herring in terms of meaning in some of the work.

I see my practice as a way to learn by touch and as a tool for understanding or feeling something. The act of making is central to my practice.

Laurence Kavanagh: Warwick Stafford Fellow 2014-2015

Laurence Kavanagh is the Warwick Stafford Research Fellow for 2014/15

I have taken a death mask of a cinema screen, the proportions of which are the current widescreen standard of 1:2.39. Replicating this cinematic total field in sculptural form the death mask, made from paper is acting as a somatic site of production/performance to examine digital and analog modes of perception. The resulting works will examine a liminal point that exists between real and imagined spaces.

Key to the research on my fellowship at BALTIC 39 is the following; examining sculptures relationship to the cinematic window; questioning sculptures need to exist in physical form; the place that manual transformation of materials has in a world of increasing digital material homogeneity.

This new body of work will form part of my on-going projectThe Calendar Series. The motif of the Gregorian calendar is at once an object, an image and also a marker of time. As a marker of time the calendar is purely representational, it is never able to absolutely indicate a precise moment of the here and now because a slippage of time is inherent to its system. Once every four years is a leap year; time is adjusted to be in the present. This series will eventually consist of twelve inter-related sets of work to represent each of the calendar months.

To date I have realised April and May. The work compresses visual frames of information; the sculptures and collages work as opposites and equals. The collages offer a singular viewpoint of a constructed environment (interiors or landscape), which upon inspection de-compresses, indicating that the overall image is an illusion comprised of sculptural objects I make, residual marks made in the studio from sculptural processes, and sculptures used to create shadow projections. I use the cinematic cut literally, physically cutting my own sculptural objects and in doing so manipulating them towards self-destruction.

The cinematic takes various forms in my work, over time I have found that there are three constants: the parallels between phenomenological perception in film and sculpture; the role of time and symbolism within objects and images; and spacial constructs of interiors and landscapes.

Positioned within this formal structure are trigger points for the viewer: symbols of the sub-conscious (the window, the shattered drinking glass, the fire, the eclipse etc.) often taken from my memory of a turning point in a film. My work investigates the connections we have with these symbols and utilises them as vehicles to explore our relationship to consciousness through material and process. These props, being neither functioning objects nor purely sculptural objects, exist more as an illusion, an outline of a symbol.


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