PROFESSOR OF CONTEMPORARY ART AND PHOTOGRAPHY, UNIVERSITY FOR THE CREATIVE ARTS
DR JEAN WAINWRIGHT
Professor of Contemporary Art and Photography, University for the Creative Arts
Dr Jean Wainwright is an art historian, critic and curator living in London. She a Professor of Contemporary Art and Photography and is Director of the Fine Art and Photography Research Centre both at UCA.
As a writer and academic she has published extensively in the contemporary arts field, contributing to numerous catalogues and books. Along with the entire unedited Audio Arts archive, 177 of Wainwright’s ‘conversations’ for Audio Arts magazine were acquired by the Tate Gallery. She has over 1,800 interviews in her personal audio archive.
“I focused my selection on photography and was struck by how certain themes and processes emerged, striking a chord with our current situation.
There are a range of art historical references, political inferences and personal experiences of lockdown; from Black Lives Matter with Dagmar van Weeghel’s portrait highlighting African slavery to Bettina von Zwehl‘s cut-out where she uses scissors to both destroy yet re-create work inspired by a past residency in Austria. Emily Allchurch responded by virtually travelling, creating a new portal with her digital collage of photographs she had previously taken in Japan.
We are also reminded in Julia Fullerton-Batten’s Lara of the discipline of specialist performers with her image of a contortionist alone in a room. In contrast Karine Laval took comfort in nature reminding us of how it thrived on small plots of land whist the virus took hold.
Finally, in Michele Cirillo work Satellites n. 11 we are drawn into the vastness of space, with implications of our political interconnectivity while highlighting how we are currently living in close up with our own selves. I am reminded of the power of photographers to interpret the world we inhabit and highlight it in visually inventive ways.”
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Bettina von Zwehl, Cut Out 30, 2020. Courtesy of Purdy Hicks.
“I loved the process and understated references to isolation, creative impulses and portraiture.
Painstakingly developing one of her earlier silhouette portrait negatives, von Zewhl then cuts into the resulting print with scissors, driven by her ‘emotional subconscious’. The resulting unique collage references the concept of the Wunderkammer as well as Matisse.”
Dagmar van Weeghel, For Sarah – The Crown, 2019. Courtesy of African Arty.
“I was really drawn to this portrait, the texture of fur against the plaited hair, the feathered headdress and the pose as a homage to Sarah Forbes Bonetta the 19th century Egbado princess. There is something very compelling in the expression of the sitter with its contemporary lens referencing 19th Century patronage and slavery.”
Michele Cirillo, Satellites n. 11, 2020. Courtesy of Arte Globale.
“This work reminded me not only of Rauschenberg collages but also the closeups of the woman’s face is partly our virtual internet experience. The macro and the micro space and time all seem particularly relevant now in our current situation.”
Karine Laval, Quarantine #02, 2020. Courtesy of Crane Kalman Brighton.
“The title itself is particularly pertinent as Quarantine #02 captures what many of us experienced during lockdown, nature emerging in a multitude of colours in our gardens or local area. Her technique highlights natural and cultivated flowers in sunlight, but also reminds me of multi coloured virus slides.”
Julia Fullerton-Batten, Lara 1 – Contortion, 2020. Courtesy of ARTITLED Contemporary.
“I love the painterly qualities of Lara 1, the contortionist alone in the room practicing her craft. I was reminded of all those dedicated people who are continuing every day to hone their skills for future performances. I love the powerfully evocative composition and the attention to detail in this work.”
Emily Allchurch, Picture Window (after Hiroshige), 2020. Courtesy of GBS Fine Art.
“I admire the way that during lockdown Allchurch has revisited her photographs taken in Japan, digitally stitching them into a beautiful Hiroshige inspired landscape. Like a view from the porthole of a ship, the symbolic peony and blossoms speak of renewal and optimism but also transience, in her calming composition.”
Bettina von Zwehl, Cut Out 30, 2020. Courtesy of Purdy Hicks.
“I loved the process and understated references to isolation, creative impulses and portraiture.
Painstakingly developing one of her earlier silhouette portrait negatives, von Zewhl then cuts into the resulting print with scissors, driven by her ‘emotional subconscious’. The resulting unique collage references the concept of the Wunderkammer as well as Matisse.”
Dagmar van Weeghel, For Sarah – The Crown, 2019. Courtesy of African Arty.
“I was really drawn to this portrait, the texture of fur against the plaited hair, the feathered headdress and the pose.as a homage to Sarah Forbes Bonetta the19th century Egbado princess. There is something very compelling in the expression of the sitter with its contemporary lens referencing 19th Century patronage and slavery.”
Michele Cirillo, Satellites n. 11, 2020. Courtesy of Arte Globale.
“This work reminded me not only of Rauschenberg collages but also the closeups of the woman’s face is partly our virtual internet experience. The macro and the micro space and time all seem particularly relevant now in our current situation.”
Karine Laval, Quarantine #02, 2020. Courtesy of Crane Kalman Brighton.
“The title itself is particularly pertinent as Quarantine # 02 captures what many of us experienced during lockdown, nature emerging in a multitude of colours in our gardens or local area. Her technique highlights natural and cultivated flowers in sunlight, but also reminds me of multi coloured virus slides..”
Julia Fullerton-Batten, Lara 1 – Contortion, 2020. Courtesy of ARTITLED Contemporary.
“I love the painterly qualities of Lara 1, the contortionist alone in the room practicing her craft. I was reminded of all those dedicated people who are continuing every day to hone their skills for future performances. I love the powerfully evocative composition and the attention to detail in this work.”
Emily Allchurch, Picture Window (after Hiroshige), 2020. Courtesy of GBS Fine Art.
“I admire the way that during lockdown Allchurch has revisited her photographs taken in Japan, digitally stitching them into a beautiful Hiroshige inspired landscape. Like a view from the porthole of a ship, the symbolic peony and blossoms speak of renewal and optimism but also transience, in her calming composition. .”
