Kelly Cumberland - PhD Proposal
Working Title – Modes of making, modes of thinking: creativity, science and drawing in the expanded field.
This PhD Proposal will address the following questions:
- How might an expanded drawing practice interrogate the world of the invisible, with a particular focus on microbiological structures?
- In light of the Covid-19 pandemic, how might visual representations of the virus, data and statistics, influence the understanding of scientific imagery and its use of art tropes?
- How might the aesthetics of expanded drawing and life science inform each other?
- How can art and medical science explore experimental methodologies, materials and new technologies?
- How can the contrasting methodologies of art and science inform each other?
[Expanded Drawing - Art / Science]
Central to my project is an investigation into the nature of a serial body of work. Underpinned by medical science, intrinsic to my research is the concept of making the invisible visible through expanded drawing practices.
Expanded definitions of drawing have long been integral to my work. Imagery in the work is underpinned by its link to the viral and cellular referents I use as my motifs. The use of biomorphic elements reference naturally occurring patterns or shapes reminiscent of nature and living organisms. Opposing principals of disorganisation (entropy) and organisation (syntropy) are explored to transform the potential for the evolution of systems and differentiation and/or deterioration, to bring together two quantities, and ever-increasing complex forms. I aim to contribute to a body of knowledge in the expanded field of drawing through employing scientific approaches.
-Context –
Drawing in the Expanded Field
Recent years have seen numerous artists turn to drawing, not as a preparatory or subsidiary practice, but as the primary means of production. Amongst others, the work of Ray, M. (1967). Dust Breeding; Parker, C. (1991). Cold Dark Matter; Zodera, B. (2008). New Tools For Old Attitudes; Bertola, C. (2006).After the fact, Dean, T. (2018). Landscape; Horn, R. (2004) Where 12; and Rubins, N (2017) Paper into Sculpture, is frequently conceptualised in this manner. This project will further explore drawing in the expanded field, with on-going critical reflexivity from deep investigative approaches, exploration and connection of diverse knowledge and understanding, through employing contrasting methodologies of art and science.
Drawing as a practice provides a means of moving across and between these categories, and moving beyond the familiar tropes of drawing, art and science, to explore alternative dialogues between drawing and scientific methodologies. These are not mutually exclusive categories, but indicate the multifarious connections between expanded drawing and scientific methodologies.
Art & science
Although expanded drawing is extensively produced and critiqued, less common is considering expanded drawing in relation to art & science. This PhD proposal focuses on the medium of drawing in the expanded field and its relationship to scientific approaches and methodologies. The research project will move both thinking and making beyond the familiar tropes of art and science. Many artists respond to science such as, Jerram, L. 2021). Glass Microbiology; Hiorns, R. (2008). Seizure; Clancy, P. (2005). Visible Human Bodies; Saraceno T. (2009). 3D Spider Web Scan; and in doing so, they document the changing relationships and the constantly changing boundaries between the disciplines. It is important to note that artists work with public engagement as a way to communicate their ideas to a wider audience. Building on the ideas and notions around science as a means for making art, my proposal may include some public engagement elements throughout however, it will focus on expanded drawing underpinned by scientific methodologies.
Practice Research and Visual Research
The initial focus of this PhD will be engagement with the research facilities, collections and archives at UoL, which will in turn consolidate other contacts. This research will focus around the Museum of the History of Science, Technology and Medicine, and the Leeds School of medicine - Hidden Histories: Pathology - by Kiara White and Laura Sellers, and the HPS in 20 Objects Lecture 16. In addition to this, I will be looking to make contact with The Faculty of Biological Sciences and Microbiology at University of Leeds. This will support discussions with Academics / Postdoctoral Researchers & PhD students focusing on Microbiology / Biotechnology / Cell and Organismal Biology / Neuroscience / Structural Biology / Structural Virology, and Anthropology.
I will also attend and contribute to events such as Practice Research in Lockdown, and join research groups, in particular the Centre for Practice Research in the Arts (CePRA) at the University of Leeds . The opportunity to be involved with scholars from across disciplines to engage in discourse around practice research, framing, articulation and documentation of practice research methods will be invaluable. This will contribute building on the cross fertilisation between Leeds Arts University and the University of Leeds. I will also visit the Thakery Medical Museum and write a number of literature reviews on expanded drawing throughout this PhD.
Practice Research will also be initiated through this access to specialist material, which will inform interpretations through expanded drawing. By combining digital science and computer technologies, it is envisaged that hybrid forms that combine disciplines will emerge as expanded drawing, in 2D/ 3D & 4D, which will engage with the first research question, making the invisible visible. This body of work will explore the difference between art and scientific experience, and how scientific methods and material might influence drawing in the expanded field.
Networks
The project will start with broad practice research, building on my current engagement with both expanded drawing and science. I will continue to engage in, and build on the networks I been involved with, including, but not limited to, Deborah Harty, co-director of TRACEY and the Drawing Research Network (DRN). Layla Curtis, a practicing artist and founder of Edgework, an artist-led, online store and multidisciplinary journal, and Anita Taylor, practicing artist, founder and director of Jerwood Drawing (now Trinity Buoy Wharf Drawing Prize) and founder director of Drawing Projects UK.
There are many important contexts and networks related to art, science and drawing. Organisations foremost among these are, The Drawing Room in London, and The Drawing Centre in New York, both dedicated to the investigation and presentation of international contemporary drawing. Drawing DeCentered, an artist-led collective and platform for exploring contemporary drawing, and The Wellcome Collection, which explores health and human experience with annually changing themes responding to the current climate. The Esther Klein Gallery and science centre in Philadelphia, a place for artists and scientists to make new connections, and Leonardo, the International Society for the Arts, Sciences, and Technology who document and make known the work of artists, researchers, and scholars interested in the ways that the contemporary arts interact with science and technology. These organisations also create a forums and meeting places where artists, scientists, and engineers can exchange ideas, and, where appropriate, work alongside each other.
I am also forging links with a number of specialists at Leeds Teaching Hospitals; along with Ryan Mathew and Heiko Wurdak, who co-lead the stem cell and Brain tumour group at the University of Leeds, I am also in conversation with a Scientist at Langebio (National Laboratory of Genomics for Biodiversity) in Mexico City. These conversations and meetings will continue to develop and inform my research practice.
Bricolage
This is a deliberately diverse range of possible engagements, which relates to my research questions and it will underpin the focus of expanded drawing. The varied scientific approaches will inform a range of materials and methodologies, which will allow me to consider the impact of working alongside different complex behaviours and to test superimposing these onto drawing in the expanded field.
The breadth of disciplines will provide a wealth of opportunities for unexpected practices between departments engaging in significant knowledge exchange. The possibility to construct, create, develop and inform practice research, through interrogating a range of materials, methodologies and approaches, supports the development of this project in bringing together and unifying similar and differing interests and concerns.
-Show awareness of current knowledge and debates – Review current literature related to your intended project and make reference to key articles and texts to demonstrate understanding of the subject
Through referring to several bodies of literature in relation to expanded drawing, art and medical science, I have an awareness of the current debates and will broaden and deepen this knowledge and understanding throughout my PhD.
Expanded Drawing is arguably the most direct and immediate of all art processes and has become a more complex term over the last decade. (Lovatt 2021) considers tensions that exist in drawing between blankness and trace, and its multifaceted identity in relation to the complex temporalities structuring our everyday lives. (Dexter 2005, Rattemeyer 2013) also note the complex interplay of cognitive, somatic and material conventions defining drawing today. This PhD will interrogate these modes of thinking around drawing practice through exploring experimental methodologies informed by concepts linking art and life science. I am situating my work within these areas, with a focus on drawing within the expanded field in relation to art, science, new technologies and methodologies.
This PhD will be framed by the notion of an expanded practice as first articulated within the essay, Sculpture in the Expanded Field, (Krauss, 1985) where she asks if ‘sculpture’ is so diverse it no longer functions as a descriptive category. Furthermore, (Garner 2008) considers how drawing today is characterised by diversity, and (Petherbridge 2010) goes on to state that Drawing as a subject of study is a topic waiting to be formulated, and (Gross 2016) considers how art is transformed by the process of drawing in the book Drawing ReDefined. (Lovatt 2012, 2020) essays build on these ideas with Drawing across and between media, and Drawing as World Making, and Vitamin D3 continues to question; What is drawing now and Why Drawing Now?
Repetition, in a broad sense of happening, doing and experiencing, permeates all aspects of life. This has been the central subject in the works of many modern philosophers, (19th & 20th Century) including Adorno (1903-1969) in relation to the human condition, Derrida (1930-2004) in relation to Trace/ Phenomenology, Nietzsche (1844-1900) in relation to aesthetics and, perhaps most compellingly, in the principal thesis Difference and Repetition (Deleuze 1968). Artists that link to these philosophies and my own practice interests include, but are not limited to, Kusama, Y. (2012). Infinity Mirror Rooms; Weiwei, A. (2002). Sunflower Seeds; Guo-Qiang, C. (2018). Cuyahoga River Lightning; Martin, A. (2021). The Distillation of Color; Allington, E. (2019). Ideal Standard Forms; Parreno, P. (2000). 6.00PM. Berlin; Hesse, E. (2021). Repetition Nineteen III; Wright, R. (2002). Project Space: Richard Wright.
I will further explore ideas and notions around seriality as a method of making. Serial Drawings (Graham 2021), a book inspired by the quadruple framework object-orientated ontology (Harman 2018), suggests that works are unified yet pluralised, visible yet withdrawn. He goes on to question the focus on the tensions between space, time and seriality, drawings, systems and structures that develop as an aesthetic mode of communication. This highlights ideas around working with seriality as a progression of studies and a systematic approach shared by scientific research.
The project will use the work of (Garfield, 1998, Osborne, 1981) as a catalyst and offer parallels between artists, scientists, and their relationship to nature, whilst noting that while an aesthetic response may be elicited by the diverse kinds of order in nature discovered and described by scientists, it is artworks made by artists that are the most powerfully effective objects for the evocation and expansion of aesthetic experience. The aim is to integrate drawing in the expanded field in relation to the influence of certain scientific and medical methodologies. This interdisciplinary investigation will reveal the commonalities and differences between the fields, in terms of creativity and experimentation, research and data visualisation, along with the use of both critical and visual thinking and interpretation.
Artists and scientists use several of the same skills in pursuit of their goals, including critical thinking and problem solving, communication and collaboration, flexibility and adaptability, and social and cross-cultural skills. Crucially, both are creative practices. Research was undertaken (Lehmann, Gaskins, 2019) to examine scientific creativity through the lens of artistic practice, and value transformative creativity in science. This is supported by the vice president at the Orlando Science Centre (Stanford 2000) as a well-rehearsed position, stating that imagination and creativity are at the heart of both art and science.
The art-science debate lies at the intersection of a number of recent cultural and theoretical developments; the postmodern challenging of boundaries between subjects, and the great awareness of the power of technology to transform the world. In his seminal Rede Lecture, Two Cultures (Snow 1959), reframed and repositioned the conception of the relationship between the natural sciences and the arts and humanities in Western culture. Furthermore, as (Wilson 2001, 2010), Professor of Conceptual and Information Arts, suggests in his book, Information Arts: Intersections of Art, Science, and Technology, art can be an active partner in determining the direction of scientific research. He goes on to consider this in his book Art + Science Now: How scientific research and technological innovation are becoming key to 21st -century aesthetics, by noting that artist’s engage in scientific and technological research processes and methodologies, and identify questions that would be unlikely to be pursued by other researchers. In addition to this, (Miller 2014) in his book, Colliding Worlds suggests that not only science, but art also shows us that reality, at first incomprehensible, gradually reveals itself, by the mutual relations that are inherent in things. In addition to this, (Pickering 2016) notes in his essay Art, Science and Experiment, the commonalities between art and science.
This PhD will build on these current debates through an on-going investigation in relation to my research questions, through integrating both modes of understanding.
This PhD will also be drawing on the cultural theory of social anthropologist (Douglas, 1966) with the study of risk perception and risk communication. In her best known work, Purity and Danger: An Analysis of Concepts of Pollution and Taboo, she traces the meaning of dirt in different contexts, clarifying how context and social history are essential. This will be a key text in considering how these wide-ranging concepts impact our attitudes and the philosophy of science in relation to ‘dirt’, ‘contagion’ and daily life.
Another key text deconstructs the wider history of disease; (Sontag, 2009) Illness as Metaphor and AIDS and Its Metaphors, in which she challenged the victim-blaming in the language that is often used to describe diseases and the people affected by them, Sontag noted that the clearest and most truthful way of thinking about diseases is without recourse to metaphor.
-Experience Gained – Demonstrate your own expertise gained from previous study or employment –
As a practicing artist I exhibit nationally and internationally, whilst also being BA (Hons) Fine Art Course Leader, and MA Supervisor at Leeds Arts University. My professional values inform everything I do. I continue to ensure my on-going artistic practice research is embedded into a continuously evolving pedagogic practice. Opportunities to share good practice, knowledge updating, scholarly activity and continuous professional development, all contribute towards an engaged, constantly developing and rounded practice.
My previous experience of working alongside scientific researchers at the Haematological Malignancy Diagnostic Service (HMDS) at St James’s hospital, and the Microbiology and Radiology departments at Leeds Metropolitan University, offered a forum and a rich learning environment, with a combination of mutual and differing interests. This, coupled with my collaborations with academics, artists and curators, has shown me how successful outcomes can be achieved through differing experiences and knowledge exchange, and the value of this continued dialogue. This is documented on my website https://kellycumberland.art
My REF submissions for 2020 include two exhibitions, and two artist books, Manual, ABA ART LAB, Palma de Mallorca, 2013 - 2016, as part of La Nit de l’Art International Programme. These research outputs include artist’s books, or ‘printed exhibitions’ and exhibitions that reflect my on-going engagement with artists and gallerists in Palma de Mallorca. The printed exhibition in its design, layout and image selection, co-exist to provide relevant exhibition information whilst also contributing as an artwork in its own right. The exhibition is an immediate experience whilst the printed exhibition exists as a longstanding memorial. This episodic process enables the possibilities to re-consider, rework, renew and re-engage with the possibilities of expanded drawing practices as part of the cycle of making. The second exhibition was an outdoor three-dimensional site-responsive drawing, revealing an interaction with a distinct place in Spain. It was developed during a limited and specific period of time as part of the Nit del’Art 15 programme, being the first outdoor installation to be included in this event.
A recent solo exhibition in Mexico is pertinent for this project and was a result of my RADAR Mexico selection by the jury of RADAR, composing of eight professional galleries. My exhibition ‘Biomorfica’ at Galeria Liliput, Puebla, 2019, (with my second solo exhibition at Galeria Mercado Negro, Cholula postponed, due to the pandemic), utilised on-site material research as part of the making process, using paper, vinyl, pigment, acrylic and digital projection. The research processes and techniques allowed the architectural support to become an element of the drawing. It was found that the audience response to the exchange of ideas and exploration of visual communication from different cultural perspectives was important. Connections to the significance of paper cutting (pape picado) in Mexican culture were discovered through linking contemporary Western art to historic Mexican craft and traditions. The research was disseminated through an exhibition in September 2019 at Liliput Gallery, Puebla, Mexico, a contemporary art gallery representing international contemporary artists. The exhibition was sponsored by Laserweb (uk) with some of the work being fabricated in Mexico. The work was also disseminated via newspaper articles, digital publishing, social media publicity and radio broadcasts. An accompanying text was published by Mexico City based Art Historian, Arturo Alvar.
Recent exhibitions also include: Cuits [fenestram] Mercado Negro, Cholula, Mexico 2020;Tracing Entropy, Foyer Gallery, University of Leeds, January 2020, where research was disseminated through a month long exhibition. The work was also disseminated at an Art-Design-Technology taster afternoon event with Artist Talks and a closing event in February 2020; Vision of Science Art Award 2018 & 2020, The Edge Gallery, University of Bath; Making Research, Leeds Arts University, Blenheim Walk, 2018.
-Explain where there is a gap in current understanding and how your original research can push knowledge forward -Focus on one or two achievable key research aims and how research questions can achieve the aims
This PhD aims to focus on an exploration of expanded drawing and how new technologies and scientific methodologies and approaches can be superimposed and influence material techniques and processes. The gap in current understanding around creativity, science and drawing in the expanded field will be explored through interrogating my research questions as listed in section 1.
My objective is to investigate the position of expanded drawing practice, making the invisible visible. In doing so, I aim to employ scientific modes of making in order to contribute to a body of knowledge in drawing in the expanded field.
Expanded drawing is an established position within current art practice and in the attempts to define drawing, and the way in which art writers talk about different aspects of drawing practice, there is a tendency to identify dualities. However, drawing becomes more interesting when it occupies a place between the binary positions established by art writers. There is a gap in this current understanding and it is through exploring practice research and listed research questions, I aim to contribute to this body of knowledge.
Artists collaborating with scientists often results in public engagement and a presentation of ideas to the wider community. My work however, will focus on expanded drawing practice and, through employing scientific experimentation, material and imagery as subject matter, an understanding of expanded drawing underpinned by medical science will be further developed.
Throughout this PhD, I will be employing scientific modes of making to my drawing practices, such as cutting two dimensional sheets with a scalpel to make complex 2D, 3D and 4D forms. The exploration of mediums on which marks are framed by the medium itself, then cut or manipulated to become a drawing and possibly an object, blurs the boundaries between drawing and sculpture. The potential for the manipulation of material qualities will be an integral part of the research practice. The research aims and questions will inform this interrogation in relation to the world of the invisible to contribute to the gap identified in current understanding.
Artists drawing with paper cutting include, Barclay, C. (2002). Howl; Periton, S. (2003). Flag; Pearlman, M. (2018) SUMA; Ambe, N. (2012). A Piece of Flat Globe. In addition to this, ‘drawing in space’ has been repurposed to describe the work of contemporary artists engaged in the production of linear installations. The work of Grzymala, M. (2009). Farbrauschen; Shettar, R. (2014). Tuntoroo; Shotz, A. (2017). Object for Reflection; and Sze, S. (1999). Seamless, are frequently conceptualised in this manner. However, it is notable that these works do not reference medical science or employ scientific methodologies. This research gap gives me the opportunity to engage in practice research to explore the possibilities and contribute towards an existing body of knowledge. Similarly, literature on the issue is not complete until further research is undertaken on other intervening variables.
I will employ practice research to identify/ investigate/ explore/ improve and discover, through employing expanded drawing with science as a systematic approach. The purpose of identifying and challenging assumptions that underpin existing preconceptions / perceptions in both fields is integral to the understanding and the communication of complex ideas. I seek to continue discussions with scientists, artists and academics to continue to inform and underpin my working practice through engaging in knowledge exchange.
-Methodology – What type of data do you require, for example qualitative, quantitative or a combinationHow are you going collect and analyse the data? How will these methods address your research aims, relating to current literature?
As it is commonly understood, practice research as a way of framing questions, a provocation of a question, not an illustration. This is framed on expanded drawing, medical science methodologies and new technologies. As (Biggs 2006) states in the book, Art as Research, doctoral education, and the politics of knowledge, ‘As with art’s other contemporary forms, an understanding of context is central to any consideration of art as research.’ The value of art as research lies in questioning definitions of knowledge in line with the stance of scientific investigation.
This PhD will be positioned within theoretical research used in alliance with tacit knowledge and the development of practice, as noted in the book, Practice as Research: Approaches to Creatives Arts Enquiry (Barrett and Bolt 2010). In conjunction, I am constantly reflecting on a number of theoretical methods employed in research. In the book Practice-led research, research-led practice in the creative arts (2009), the editors consider how creative practice can lead to research insights. In both art and science, conceptual frameworks play a central role in the practice-based research process.
Furthermore, in the book Artistic Research Methodology, Narrative, Power and the Public (Hannula, Suoranta, Vaden 2014), argued for ‘artistic research as a context-aware and historical process.’ The methodology of artistic research has to be responsive both to the requirements of the practice and the traditions of science. Here the embedded nature of the knowledge produced through artistic research becomes evident.
I will employ a bricolage method of making, literature reviews, surveys of other artists, working with others, use of scientific material as a stimulus, and referring and responding to archival materials in-line with Barrett and Bolt. I believe this hybridity of process, and materials employed, are key to the artworks capacity to result in aesthetic and structural variations.
This methodology is appropriate in relation to the research questions, modes of thinking and modes of making. This PhD will explore creativity, science and drawing in the expanded field. Through employing the process of thinking through doing, I aim to contribute towards this discourse within art practice. I will consider if a hypothesis can be developed and tested through experimental drawing practices to explore the aesthetics of medical science, along with my research questions in section one.
-Timescale Plan – f/t 3 years - Possible challenges and how you aim to overcome them. What will be the milestones of your research.
What you wish to achieve each year of your research project.
First Year:
- Use scientific data and UoL archives and collections to focus and develop ideas
- Set up a private access blog
- Meetings with scientists, artists and academics
- Literature reviews and companion surveys with other artists working in similar ways
- Develop proposals and agree research
- Exhibitions and accompanying modes of dissemination
- Write-up research and developments
- First Interim Exhibition
- Present a paper
- Experiment with expanded drawing processes by employing scientific methodologies, including 2D/3D/4D
-Upgrade Transfer
Second Year:
- Continued experiments in the studio in response to the first year of research
- Continue blog
- Continue meetings and use of scientific data and archives to focus and develop ideas
- Second Interim Exhibition
- Literature review of current debate surrounding and underpinning my research
- Experiment with drawing materials processes and techniques, including 2D/3D/4D
- Write-up research and developments
- Drafting of thesis, initial stages of final body of work
- Present a paper
Third Year:
- Further engagement with experts/academics/artists working withing the area of my research in order to share my outcomes
- Continue blog and other modes of dissemination
- Continue meetings and use of scientific data and archives to focus and develop ideas
- Text published in journals
- Present a paper
- A continuation of research with a focus on analysis and conclusion
- Write up thesis and completion of my body of work
- Plan and deliver final exhibition / installation of major body of work that has been tested through shows
- Expected Outcomes – Why is this research important & how does this build on current knowledge / what new understanding will I bring to my field?
This PhD aims to focus on an exploration of expanded drawing and how scientific methodologies and approaches can influence material techniques, aesthetics and processes.
The identified research gap gives me the opportunity to engage in practice research to explore the possibilities, stated in section five, interrogate the world of the invisible, with a particular focus on microbiological structures, and contribute towards the existing body of knowledge in the expanded field of drawing.
My objective is to develop understanding of the position of expanded drawing practice, to encapsulate scientific and medical approaches and methodologies. The on-going dialogues will be recorded, which will begin a narrative, and collectively they will contain information beyond a linear measure. Drawing practices will be collated to become a record of time and an unexpected narrative may unfold.
The continued dialogue within this rich learning environment and forum, with a combination of mutual and differing interests, will result in development and exploration, and in turn will offer the opportunity to work as part of a creative community to share ideas and perhaps dispel some preconceptions of each-others discipline. Thus supporting the development and dissemination of work that communicates and opens up the social connections between art, science and experiment within the everyday world.
Scientific methodologies will inform expanded drawing practices, which will contribute to a realm of knowledge giving an opportunity to share, learn and reflect on findings in order to make connections through immersed thinking.
Through expanded drawing practices and integration of information, a range of visual works will develop to contribute to a major body of work that has been tested through interim exhibitions, presentations, articles and journal papers. The outcomes will be produced using a combination of handmade and digital processes, such as scalpels, laser cutting, projection, animation and 3D printing, as detailed in section five.
These outcomes will aim to contribute to re-defining the relationship between drawing in the expanded field and science. As (Strosberg 2021) stated in her book Art & Science, ‘As knowledge has evolved since the dawn of time, scientists and artists alike have responded to one another’s research, driving it forward’.
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Kingston, A. ed. (2003) What Is Drawing? Three Practices Explored. London: Black Dog Publishing
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-Appendix 1 –
Professional Networks:
Professor Anita Taylor - Dean of the University's Duncan of Jordanstone College of Art & Design, Trinity Buoy Wharf Drawing Prize – Drawing Projects UK
Layla Curtis, artist and founder of Edgework
Deborah Harty, co-director and editor of TRACEY and Drawing Research Network
Ryan Mathew and Heiko Wurdak, co-lead Stem Cells and Brain Tumour Group, School of Medicine, University of Leeds
Jose, Juan Ordaz Ortiz, Langebio, National Laboratory of Genomics for Biodiversity, Mexico City
Organisations and Galleries:
Drawing DeCentered, artist led collective and platform, RHA, London
Esther Klein Gallery – Science Center, Philadelphia
Leonardo, Arizona State University, Journal Published by The MIT Press
The Drawing Room, London
The Drawing Centre, New York
Thakery Medical Museum, Leeds
Wellcome Collection, London
-Appendix 2 –
Recent group and solo exhibitions include;
Tracing Entropy, Foyer Gallery, (group) University of Leeds in January 2020, Visions of Science Art Award, The Edge, Bath University, (group), 2020 Biomorfica (solo) Liliput Gallery, Puebla, Mexico, 2019 inc RADAR Mexico Award, Visions of Science Art Award, The Edge, Bath University, Group Exhibition, 2018, Making Research, Leeds Arts University, Group Exhibition, 2018, #51RememberHer (International Womens, group) Tower Gallery, London, 2017, Manual v.2.1 Art Publication, Art Palma Brunch, Palma de Mallorca, 2016, Manual v 2.0 (Dibuix per La Plaça Porta de Santa Catalina) (joint) ABA ART LAB, La Nit de l’Art, Palma de Mallorca, 2015, Manual v.1.1 Art Publication, Art Palma Brunch, Palma de Mallorca, 2015, Colonize (group) 3rd on 3rd Gallery, Jamestown, New York, USA, 2014. RX3: Repetition, Recurrence, Reiteration (group) DrawingBoard, Harrogate, 2013. MANUAL v1.0 (joint) Nit de l'Art Palma, Sant Feliu, Mallorca, 2013. Classification (group), Leeds College of Art Gallery, Blenheim Walk, July 2013. Vestigium [Pulvis] (isw) The Ideas Store, (solo), Whitechapel, London, 2013. Inhospitable (group) SCIBase, Leeds, and various venues at Liverpool Independents Biennial, 2012. Local Imagination (group), San Francisco Art Institute, 2012, touring to Leeds College of Art Vernon Street, October 2012. Supermarket (group) Stockholm Independent Art Fair, Sweden, group exhibition, Stockholm 2012. Recorded/ Reproduced (joint), The Bowery Gallery, Leeds, 2011. The Drawing Shed, residential project and solo exhibition, PSL [Project Space Leeds], 2010. Workhouse (group), Ripon Workhouse Museum, 2010. Hybrid (group), Sheffield Institute of Arts, 2010 & Thackray Museum, Leeds – symposium. Protoavises [opt] residency & solo exhibition, HMDS, Atrium Gallery, St James’s Hospital, Leeds, 2009. Separations (group), 67-71 Bath Road, Leeds, 2008. Delineate (group) exhibition, The Crossley Gallery, Dean Clough, Halifax, 2007. For the North (group) Generator Project, Dundee, Scotland, 2006. PaperArtNow (group) Bury Art Gallery, 2006. Multiples & Editions (group), Contemporary Gallery, Berlin, Germany, 2005. Co-ordinates (group), Salts Mill, Saltaire, 2005. Blank (group) Leeds City Art Gallery, 2005. Off the Wall (group), Brahm Gallery, Leeds, 2004. Imagine – New Voices, solo publication, Robert Horne Group, March 2004. hole (solo), Leeds City Art Gallery, 2003. Removed (joint), Bradford Gallery, 2002. No Fixed Abode (group), multiple venues, Leeds City Centre, 2001. Geneomic (solo), Brahm Gallery, Leeds, Feb 2001.
Website:
www.kellycumberland.art
Instagram:
kelly_cumberland
Twitter:
@kellycumberland
Stitched Vimeo link:
https://vimeo.com/355842742
Prolaritus Cealum 1 Vimeo link:
https://vimeo.com/75428706