Dr Terry Perk
Dr Terry Perk studied Fine Art at Leeds University and Bennington College, USA, before gaining his PhD in History and Theory of Art from the University of Kent at Canterbury. He is the Associate Head of the School of Fine Art and Course Leader for the MA Fine Art and MA Curatorial Practice courses at the University for the Creative Arts in Canterbury, where he is also a Reader in Fine Art.
Dr Perk’s research interests are concerned with questions of embodiment, perception, archaeology and architectural programming as they relate to contemporary sculpture. Exploring the situational dynamics of given sites as a question of sensual and geometric engagement Perk’s practice examines the way an embodied sense of place can be restructured to invite and question forms of individual and social engagement.
Dr Perk is also the Lead Academic for the university’s MAKE Research Cluster, exploring the role three-dimensional models play in articulating ideas in and across different disciplines. In this role Perk has led a series of research projects, exhibitions, publications and lecture series both nationally and internationally.
Professor Judith Rugg
Professor Judith Rugg, PhD is an artist and art theorist. Her research interests focus on the relationships between contemporary art and concepts of site, space and place. She is currently working on a series of events which investigate the relationships between the diversities of contemporary art practice, concepts of landscape and the performance of place.
Publications include: Spatialities: The Geographies of Art & Architecture (2012); Exploring Site-Specific Art: Issues of Space and Internationalism (2010); Issues in Curating, Contemporary Art and Performance (2012); The Barbican: living in an airport without the fear of departure (2012); Migrations of “Placeness” in Layla Curtis’s Newcastlegateshead (2008); Maternal Loss, Transitional Space and the Uncanny in Alison Marchant’s ‘Kingsland Road, London-East’ (2005); Sophie Calle’s ‘Appointment’ at The Freud Museum: Intervention or Irony? (2005); Psychoanalysis, Cultural Hegemony and the Authentic: processes of [dis]placement in Susan Hiller’s ‘At the Freud Museum’ (2005); Utopia from Dystopia: The Women’s Playhouse Trust and The Wapping Project (2002); Advances in Art and Urban Futures: Recoveries and Reclamations (2002); Regeneration or Reparation? Loss, Death and Absence in Anya Gallaccio’s ‘Forest Floor’ and ‘Intensities and Surfaces’ (2001).
Exhibitions include: Downtown Bexley, Ohio, Gallery 51, London; Scape-land, OSU Gallery, Columbus, USA. Words, Signs and Syllables, Plymouth Arts Centre; Vernissage, Eastgate Gallery, Vermont. Stilled Lives, Bluecoat Gallery, Liverpool; Transmissions Gallery, Glasgow. A Cultural Package, Riverside Studios, London; Artists’ Parish Maps, London Ecology Centre. Food as Politics, Camerawork Gallery, London. A World’s Waste, Kendal Arts Centre. The Medium and the Message, Rochdale Arts Gallery. Someone’s Backyard? Robert MacDougall Gallery, Christchurch, New Zealand.
Her work is included in the following public collections: Victoria and Albert Museum, Arts Council of England, Museum of Contemporary Art, Auckland, Liverpool University, Open University and the Contemporary Arts Society.
Professor Andrew Kötting
Andrew Kötting is an award winning filmmaker, artist and Professor of Time Based Media. After leaving school he worked as a scrap metal dealer and then as a lumberjack in Scandinavia before returning to college to study Fine Art, graduating with an MA from The Slade in London. He made numerous short films, which were awarded prizes at international film festivals before making his idiosyncratic first feature Gallivant (1996) a four month journey around the coast of Britain on which he was accompanied by his octogenarian grandmother Gladys and his daughter Eden. Subsequent feature films include This Filthy Earth in 2001, Ivul in 2009, This is our Still Life in 2011 and Swandown in 2012. His films are in the collection of Arts Council Great Britain and The Centre Pompidou, France. He currently lives and works between Fougax-et-Barrineuf in the French Pyrenees and Hastings on the south coast of England where he is editing his new feature film (a collaboration with the writer Iain Sinclair and the actor Toby Jones); By Our Selves.
FEATURE FILMS & EXHIBITIONS (Selection)
2015 BY OUR SELVES (with Iain Sinclair – feature-film, bookwork, installation and performance)
2012 SWANDOWN (with Iain Sinclair – feature-film, bookwork, installation and performance)
2011 THIS OUR STILL LIFE (feature-film, bookwork, installation and performance)
2009 IVUL (feature-film, installation and performance)
2007 IN THE WAKE OF A DEADAD (feature-film, bookwork, installation and performance)
2001 THIS FILTHY EARTH (feature-film)
1996 GALLIVANT (feature-film)
SHORT FILMS AND VIDEOS (Selection)
2014 BUOYED BY THE IRRLEVANCE OF THEIR OWN INSIGNIFICANCE
2014 THE WOMAN OF KENT
2014 THE SUN CAME DRIPPING A BUCKET FULL OF GOLD
2014 THIS ILLUMINATED WORLD IS FULL OF STUPID MEN
2013 UNDERLAND BEYOND THE MOUNTING FEAR
2012 ABOVE THEM THE WORLD BEYOND
2011 AN HISTORY OF CIVILISATION
2010 SEA SWALLOW’D (with CURIOUS)
2009 EDGELAND MUTTER
2002 MAPPING PERCEPTION
2000 KINGDOM PROTISTA
1994 LA BAS
1993 SMART ALEK
1990 HOI POLLOI
1984 KLIPPERTY KLOPP
2014 GRANTS FOR THE ARTS AWARD – BY OUR SELVES
2008 DEREK JARMAN AWARD Finalist
2003 AHRC FELLOWSHIP AWARD – IN THE WAKE OF A DEADAD
1996 GALLIVANT Channel 4 Director’s Award Edinburgh Film Festival
1994 SMART ALEK 1st Prize Oberhausen Germany
1994 SMART ALEK Golden Gate Award San Francisco USA
1993 SMART ALEK 1st Prize British Short Film Festival
1990 HOI POLLOI Jury Prize NO BUDGET Film Festival Hamburg Germany
Edward Chell is an artist based in London and an academic in Fine Art at UCA Canterbury. His exhibition Bloom at the Horniman Museum & Gardens, London, runs until 6th December. The Horniman Museum are due to publish an accompanying book on November 13th this year.
His work uses a range of media exploring themes and ideas connecting the cultural history, ecology and aesthetics of contested sites and boundaries, unpacking narratives associated with these and their relationships to other spaces and values. He has a particular interest in the eighteenth and nineteenth centuries and the interplays between discovery, natural sciences and the decorative arts.
His recent Arts & Humanities Research Council Fellowship exhibition Soft Estate investigated the artificial landscapes and delicate ecosystems surrounding our road networks and their relationship to eighteenth century English landscape design with an exhibition at Bluecoat Liverpool and Spacex, Exeter in 2014. An accompanying publication Soft Estate had contributions from among others, environmental writer Richard Mabey. Eclipse, published by Stour Valley Arts in 2013, accompanied another of Chell’s exhibitions at the Beaney Museum, Canterbury and included an essay by author and historian Jenny Uglow. He is represented by Galerie Bugdahn und Kaimer in Düsselforf.
Matthew de Pulford
Matthew de Pulford is a curator based in Margate. He trained as an artist, studying Art and Visual Culture at the University of the West of England. After participating in the organisation of a number of artist-led projects, he began to curate independently, receiving the first Crate curatorial bursary in 2009 for Bad Translation, an eighteen month programme of exhibitions exploring the role of good faith in the production and consumption of artworks. He was the curator-in-residence at the Herbert Read Gallery, Canterbury from 2010-11 and artistic co-director at Limbo, Margate from 2010-15. He is currently Programme Curator at the Whitstable Biennale, a festival of new visual art, performance, film and sound, taking place every two years on the Kent coast.
Peter Hofer is a practising artist and subject leader for the MA courses with key skills in creative arts pedagogy, enhancing curricula and engaging students. He possesses extensive knowledge and understanding of Fine Art education at tertiary level both nationally and internationally.
He exhibits internationally and his current sculptural practice involves the development of sonic interventions in public spaces within both urban and rural environments, with the intention of altering perceptions of a given space’s presumed “soundscape”. The (anticipated) bond or link between specific sounds and specific spaces is set in many cases; i.e. it is expected that a cuckoo-clock will sound the call of a cuckoo, or likewise that a mountain pasture in Switzerland will be filled with the sound of cowbells. The works with sound scrutinise such associations, often by exposing public spaces to foreign or non-local sounds, either through mobile or fixed mounted speaker systems. The immediacy and urgency of these works are planned so as to create a sonic tension, challenging our conceptions of architectural and natural territories.