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Slade Salon 2015

UCL Festival of the Arts

Monday, 18 May 2015 from 17:15 to 19:15 (BST)

Slade Salon 2015

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Slade Salon 2015 Ended Free  

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Event Details

The Slade School of Fine Art hosts short taster presentations on current research projects. 

A drinks reception follows in the Wilkins North Cloisters.




Jo Volley & Gary Woodley

The Pigment Timeline Project


Jo Volley & Gary Woodley, co-directors of the Slade Material Research Project will introduce The Pigment Timeline Project, an interdisciplinary research collaboration with UCL geoarcheologist, Dr Ruth Siddall.  The aim of the project is to establish connections between all UCL departments that involve pigment and/or colour in their research with the ultimate ambition to create a Pigment Timeline that will function as a physical pathway through UCL. By identifying these areas and examining existing maps of UCL and plans of each department, a 3D computer model of single images and a simple animation will be created to reveal their association through colour, space and time. This will be a unique visual display of quantitative information and an innovative manifestation of the multidisciplinary and imaginative thinking that is part of UCL tradition.


The Pigment Timeline Project is funded by the Centre of Humanities Interdisciplinary Research Projects.


Graham Gussin


Close Protection


Graham Gussin will discuss his 2013 collaboration with the Army at Longmoor Training Camp, the combat camera team from Army Headquarters in Andover and dancers from the New Movement Collective. In partnership with the artist, the dancers choreographed a new piece in response to the location and context of the site, filmed by the combat camera team using night vision technology.


Usually night vision technology is used for soldiers to see in the dark – actions and activities that might occur under cover of night. These actions might be said to have a particular choreography to them, for example fast movements between static periods and rhythm dictated by light, shadow, opportunity and structures. The artist was inspired by the collision between how this space is normally moved through and thought about and the dancers ideas and translations of the site.



Sarah Pickering


Celestial Objects: Aim & Fire


“Aim”, “shoot” and “fire”; the language of the gun is shared with that of photography and film. It’s not surprising that the camera and gun evolved together. In the 1880s cameras with sequential frames for time and motion studies were made from modified guns with a rotating disc of light sensitive film recording in the place of the bullet that would have frozen motion.


Celestial Objects, by Sarah Pickering, has been made by photographing a revolver fired in total darkness.  Each photographic exposure captures the entirety of a gunshot from start to finish. Contrary to the high-speed fraction of suspended action used in scientific imagery by Harold Edgerton known for his micro second photographs of nuclear explosions and bullets in mid flight, these images are a summation of the durational energy and action that the camera witnessed.


Sitting on the line between objective fact and imagined reality, the fragments of muzzle flash reference images of deep space, epic cinema and the skies of romantic painters such as John Martin. The slippage between cataloguing observation and subjective association is territory that fascinates Pickering who proposes that instead of fixing a certainty, the representations we make of the world amplify our doubts about the experiences we have of reality.


Celestial Objects, is a commission by Locus+, in partnership with North East Photography Network (NEPN).  Muzzle Flash from the series is currently on view at the Media Space in the Science Museum, London as part of the exhibition Revelations – Experiments in Photography.



Liz Rideal


Piggyback on a giant: me and Borromini > love at first sight


Liz Rideal discusses her work Danzando con Borromini and other cloth related emanations.



Kieren Reed


The Beautifullest Place on Earth


‘I love art, and I love history, but it is living art and living history that I love...’ William Morris


In a unique collaboration between the Slade School of Fine Art and National Trust at Red House, there was a commitment to challenge a tendency in heritage to make representations or reconstructions that appease our sense of the past, but instead to offer access to Red House to catalyse possibilities in the present in an active approach to historicity.


The Beautifullest Place On Earth provided an opportunity for artists and writers to engage with Morris’ home and studio, it’s staff and it’s public, in a way that is generative, interrogative and open-ended. Through a series of short residencies and through unprecedented open access, this historically significant site was made available for artists to research, speculate and produce new works. The project also provided access for workers and volunteers in the house, and the visiting public to engage with some of the living practices of contemporary art, its processes, production, even it’s ‘disruptive energies’ as it tackles many of the ongoing concerns that Morris himself engaged with, in the contemporary moment.



Deborah Padfield


Dr Deborah Padfield will talk about her research into the use of photographic images as a means of expanding and enhancing doctor-patient interaction within medical pain consultations. She will focus on two projects; face2face a recent collaboration with Prof Zakrzewska and staff and patients from UCLH and pain: speaking the threshold, a current collaboration based at the Slade which brings together a multi-disciplinary team to analyse material collected during face2face through different disciplinary lenses. The process of co-creating images with pain sufferers which reflect their unique experience of pain will be discussed alongside the specificities of  the photographic medium making it the most apposite for this project. 



Carey Young


'Legal Fictions'


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