Curatorial Practice Based Research
My research is based on my curatorial practice and draws together exhibition and production projects with critical reflection and theoretical development. My primary interest is the audience experience of media art, particularly interactive installations. I believe that better ways of understanding and working with audience experience can play a leading role in addressing key curatorial issues such as documentation and preservation, acquisitions and collections and the development of large-scale exhibitions.
The theoretical foundation of my research is Pragmatist philosophy, and particularly John Dewey’s writing on Art as Experience. This Pragmatist position underpins, and unites, my understanding of the aesthetics of technology and interaction and my practice-based methodological approach.
PhD Research in Beta_space
In 2009 I completed a PhD with the Creativity and Cognition Studios at the University of Technology, Sydney. My PhD thesis explores ways in which curators can facilitate artists’ engagement with audience experience during the production of their artworks. It posits an iterative approach to art-making in which the museum becomes a hybrid space that draws together production and presentation. The research is based on case studies of two artworks; Cardiomorphologies, by George Khut and Contagion by Gina Czarnecki. Both artworks formed part of a two year programme of exhibitions and research in Beta_space – an experimental site for exhibiting “prototype” artworks at the Powerhouse Museum, Sydney, which I developed and curated between 2004 and 2007.
Human Computer Interaction
My audience-centred approach has led me to investigate methods for recording and working with human experiences of interactive artefacts from the field of Human-Computer Interaction (HCI). I have adapted tools and techniques from HCI which can be used in the creation and curation of interactive art. This interdisciplinary approach offers a rich context for research and practice and draws together the technological and artistic contexts inhabited by media art.
Through a research residency at the Daniel Langlois Foundation I extended my work with audience experience to encompass issues of documentation, preservation and archival practice. I developed a theoretical and methodological basis for an Oral History of media art.