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field of vision
multiple spaces
Alison Dalwood at Beijing New Art Projects, Beijing, China, 16 September 2006
Doorway, Beijing , Beijing New Art Projects, September 2006. Photograph, laminated digital print 230 x 155 cms
Doorway, Beijing , Beijing New Art Projects, September 2006. Photograph, laminated digital print 230 x 155 cms
Field of Vision: Beijing , Beijing New Art Projects, Beijing, China, September 2006. A collaborative project with the Gao Brothers and Digital Art Projects. Concept and lead artist Stephan Hausmeister, project manager: Alison Dalwood. Digital print and collage, 244 x 1220 cms
Hallway 4 , virtual installation at Hamburger Bahnhof, Museum fur Gegenwartskunst, Berlin, 2006. Digital print. Outcome of residency at Institute for New Media, Germany.
Hallway 5 , virtual installation, Deutsches Histroisches Museum, Berlin, 2006. Digital print. Outcome of residency at Institute for New Media, Frankfurt a.M., Germany.
Maquette for Time Visible as Moving Light , Art In Architecture commission, School of Art and Design, University of Ulster, Belfast. 2005. Digital print, acetate and model.
Maquette for Time Visible as Moving Light , Art In Architecture commission, School of Art and Design, University of Ulster, Belfast. 2005. Digital prints, acetate and model.
Maquette for Time Visible as Moving Light , Art In Architecture commission, School of Art and Design, University of Ulster, Belfast. 2005. Digital print, acetate and model.
Testing light effects and reflections with photo behind perspex for commission at School of Art and Design, University of Ulster, Belfast. October 2006.
Hallway 3 , virtual installation at Hamburger Bahnhof, Museum fur Gegenwartskunst, Berlin, 2006. Digital print. Outcome of residency at Institute for New Media, Germany.
Bode Museum in Hamburger Bahnhof , virtual installation at Hamburger Bahnhof, Museum fur Gegenwartskunst, Berlin, 2006. Digital print and collage. Outcome of residency at Institute for New Media, Germany.
Bode Museum in Hamburger Bahnhof 2 , virtual installation at Hamburger Bahnhof, Museum fur Gegenwartskunst, Berlin, 2006. Digital print and collage. Outcome of residency at Institute for New Media, Germany.
Hallway 1 , virtual installation at Hamburger Bahnhof, Museum fur Gegenwartskunst, Berlin, 2006. Digital print. Outcome of residency at Institute for New Media, Germany.
Field of Vision: Extremes , Institute for New Media, Frankfurt am Main, Germany, October 2005. Photo shows Alison Dalwood and Michael Wright adding focus points to the collage. A collaborative project with the Insitute for New Media and Digital Art Projects. Concept and lead artist Stephan Hausmeister, project manager: Alison Dalwood. Digital print and collage, 244 x 1220 cms.
Alison Dalwood MFA is 0.5 Senior Lecturer in Fine Art and contributes to the BA and MA programmes in the School of Creative Arts, University of Hertfordshire. Alison studied fine art as an undergraduate at the University of Newcastle upon Tyne and as a postgraduate at the University of Reading. She plays a significant role in delivering studio practice elements of the fine art programme and coordinates the student experience at level two. She is the Coordinator of Artists’ Access to Art Colleges and an active member of the CREAC group initiating links between the tVAD research group at UH and outside organisations.
Alison is an active practice based researcher who exhibits internationally. In 2005 she held an artist’s residency at the Institute for New Media in Frankfurt, Germany, supported by a grant from the Arts Council. In the same year she was selected to produce a large scale public art commission for the new building of the School of Art and Design, University of Ulster, Belfast installed in December 2006. She has exhibited in the USA, Germany, Holland and China and has forthcoming exhibitions in Bulgaria, Toronto and Berlin.
Her current research explores multiple spaces and the relationship between the pictured space and the work’s location. It extends the visual field from an installed photograph to the space in which it is seen and uses photographic images which reference architectural elements of both locations pictured and real. For the Belfast commission she constructed work from reflective materials which veil photographs of interior spaces in Berlin, for example the old Jewish school in Berlin Mitte and the Bode Museum, Berlin. These works, although minimal in appearance, set up a complex tension between the viewer and the surface where the viewer becomes aware of him/herself in relation to space and time. The work 'exists' in the matrix between the photographed space, reflective surface, concrete surface, colour field, virtual space and the architectural space in which the work is located.
Alison distinguishes her work from so-called installation art, from the creation of a place set apart and her work isn’t environmental if that implies transforming the context. Rather it incorporates and coexists with parts of the environment reflecting objects, people, light, space, intervals of time. Despite the use of digital media, photography and glass or acrylic surfaces, her practice is close to painting, emphasising spatial phenomena and complex relationships between virtual and concrete space, between surface, image and location. She uses photography in ways conceptually and materially different from those generally practised combining media into an unexpected hybrid form. The surface of the work simultaneously activates the surrounding space as an object and becomes a place containing movement or movements in an attempt to reconcile the object (the visible) with what makes it visible (light).
Collaborative projects
Field of Vision is a collaborative project organised by the independent artists’ group Digital Art Projects and based on the concept of the artist Stephan Hausmeister. The format is a series of collaborative art events at which site and time-specific artworks are built. Each 'field' is the result of collaboration between specific groups from different cultural and geographical locations and the artists. The project is a platform from which to question the shape of perception and investigate how perception alters according to geographical, physical, cultural and historical location. She is the project manager establishing links with artists and venues and generating funding and has a specific role in editing the final appearance of the live artwork. Field of Vision: Beijing was produced in China in September 2006 at Beijing New Art Projects. It creates a unifying structure out of a multitude of diverse perceptions of China.
Areas of supervision
• fine art practices and research including painting and photography
• public art
• collaborative practices
Group Exhibitions
2006
Field of Vision: Beijing , Beijing New Art Projects, China
2005
Field of Vision: New York , File Electronic Language International Festival 2005, Sao Paulo, Brazil
Field of Vision: Extremes , Institute for New Media, Frankfurt a.M Main, Germany
Rehearsal for Extinct Personality: The Perils of Modern Living , Rhizome.org at the New Museum for Contemporary Art, New York
2004
Pause: capturing the sublime, Hothouse Gallery, Bath
Orilla 2004, I Muestra International de Arte Digital , Museo de Arte Contemporaneo, Sante Fe, Argentinaa
Field of Vision: New York , The Lab Gallery, New Yorkl
F5, International Exhibition of Digital Art , Centre of Visual Arts, Santiago, Chile
-Art Omi, a Retrospective , Cell Block Theatre, National Art School, Sydney, Australia
Out of Blue , UH Galleries, University of Hertfordshire, Hatfield
2003
10 Jahre , Kunstverein Grafschaft Bentheim, Neuenhaus, Germany (catalogue)
Gefährliche Benutzeroberflächen , Kunstverein Grafschaft Bentheim, Neuenhaus, Germany (publication)
2000
Location Matters, I Space Gallery , Chicago (catalogue)
Another Place: digital painting , UH Gallery, University of Hertfordshire, Hatfield
1999
Zeitschleife 2 , Kulturzentrum Alte Weberei, Nordhorn, Germany
1997
I Miedzynarodowe Spotkania Sztuki Katowice 1997 , (1st International Meeting of Artists in Katowice), Galeria Sztuki Wspotczesnej BWA, Katowice, Poland (catalogue)
Summer Exhibition , Blue Gallery, London
1996
Transactions , Reeds Wharf Gallery, London (catalogue)
1995
Pathologische Aspekte der Gegenwartskunst , Unwahr Gallery, Berlin
1991
Masters of the London Institute , The Arts Gallery, The London Institute, London
1989
Mixed Messages: Artists from Barbican Arts Group , Metropole Arts Centre, Folkestone
Gallery Artists , Intaglio Gallery, London
1986
South Bank Picture Show , Royal Festival Hall, London
1985
Annual Summer Exhibition , Royal Overseas League, London
Four Artists , Showroom Gallery, Acme, London
1984
Eighth International Print Biennale , Cartwright Hall, Bradford (catalogue)
1980
John Moores Liverpool Exhibition 12 , Walker Art Gallery, Liverpool
(catalogue)
Heads and Tails , University of Northumbria Gallery, Newcastle upon Tyne
King Street Studios , Hatton Gallery, University of Newcastle upon Tyne
Solo Exhibitions
2007
Alison Dalwood, Multiple Spaces , Academia Gallery, National Academy of Arts, Sofia, Bulgaria
2000
Alison Dalwood Recente Schilderijen , Agni Fine Art, The Hague, Netherlands
1996
Alison Dalwood, Neue Arbeiten , Galerie Unwahr, Berlin, Germany (catalogue)
Alison Dalwood , Agni Fine Art, The Hague, Netherlands
Paintings , GRS Gallery, Berlin
1993
Alison Dalwood , 77 Brushfield Street, Shoreditch, London
1992
Alison Dalwood: paintings 1991-1992, Bede Gallery, Jarrow
1979
Alison Dalwood , The Hatton Gallery, University of Newcastle upon Tyne
Awards/residencies/commissions
2007
Arts Council of England, Grants for Artists
2006
Art in Architecture, University of Ulster, School of Art and Design
2005
Institute for New Media, Frankfurt a.M, Germany
Arts Council of England, Grants for Artists
1999
A4E – Arts Council – project grant, London
1994
Paul Hamlyn Foundation/Barbican Arts Group Trust –artist residency
1993
Oppenheim John-Downes Memorial Award
1987
GLAA, Travel Grant
1981
Northern Arts, Arts Council Grants for the Arts, Individuals
Collections
Field of Vision: New York , ArtBase, Rhizome.org at the New Museum for Contemporary Art, New York
Andersen and Co, London
Bede Gallery, Tyne and Wear
Gimpel Fils Gallery, London
Hatton Gallery, University of Newcastle upon Tyne
Publications
Field of Vision: A great wall of Art , David Drakeford, Beijing Today, 15 September 2006
China Art News, FMCS, CULTURETV, Rhizome Digest, xinart, artstom, CE, duoyunxuan, guishitou, RANDOM, photography-now
Hortense Pisano Extreme , Journal Frankfurt Nr. 21/05, October 2005
Bis Sonntag ensteht eine Wandcollage , Frankfurter Rundschau, 11 October 2005
PASB Field of Vision – Extremes , Art Kaleidoscope 3/05, Sept.-Dec. 2005
Project Board , Institute for New Media, Frankfurt a.M.
Telese, E. Digital Art Projects , a-n Magazine, April 2005
Telese, E. Digital Art Projects , a-n Magazine, February 2005
Field of Vision: New York, ArtBase , Rhizome.org at the New Museum for Contemporary Art, New York, January 2005
Have NAN, will travel , a-n Magazine, October 2005
Orilla#04, I Muestra International de Arte Digital , Santa Fe, Argentina, November 2004
A Rehearsal for Extinct Personality: The Perils of Modern Living , Rhizome.org, New Museum for Contemporary Art, New York, April 2005
Intersections , Rhizome.org at the New Museum for Contemporary Art, New York, June 2005
File Electronic Language International Festival , Sao Paulo, Brazil, Oct.-Nov. 2005
Pause: Capturing the Sublime , reviews: What’s On , AN Magazine, December 2004; Decode Magazine, issue 16; 4 December 2004, Metro Life and Bath Chronicle, 1 December 2004
Chiu, S. Field of Vision , World Journal, The Largest Chinese Daily Newspaper in North America, 29 September 2004
GN - Grafschafter Nachrichten / Kultur, 19 April 2003
Gefährliche Benutzeroberflächen , Kunstzeitung, May 2003
Gefährliche Benutzeroberflächen , Punkt - Kunst im Nordwesten, Nr. 65, May 2003
GN - Grafschafter Nachrichten / Kultur, 7 May 2003
Kriegisch, T. Bilder von der Wirklichkeit , GN / Kultur, 12 May 2003
Gefährliche Benutzeroberflächen , Grafschafter Wochenblatt, 14 May 2003
Zwei Vorträge , Grafschafter Wochenblatt, 4 June 2003
Vorträge zur Kunst aus England , GN / Kultur, 5 June 2003
Thiessen-Schneider, G. 10 Jahre , Gudrun, Kunstverein Grafschaft Bentheim, 2003, ISBN: 90-807209-4-1
Dalwood, A. Hausmeister, S. Wright, M. Gefährliche Benutzeroberflächen , Kunst in den Grafschafter Nachrichten, double page spread, 19 April 2003
Dalwood, A. Location Matters , University of Hertfordshire, 2000, ISBN: 1-898543-58
Mit der Zeitschleife in die Weberei-Zukunft, Zeitschleife 2 , Thomas Kriegisch, Grafschafter Nachrichten, 29 April 1999 (review)y
Alte Weberei im Zweiten Frühling als Kulturfabrik, Thomas Kriegisch, Grafschafter Nachrichten, 6 May 1999
Bury, J. I Miedzynarodowe Spotkania Sztuki Katowice ’97 , BWA Katowice 1997
Galeria Sztuki Wspotczesnej BWA , Poland, 1997, ISBN: 83-90-32-73-9-2
Miedzynarodowe Spotkania Sztuki , Super Expres, 26 Wrzesnia 1997
Miedzynarodowe Spotkania Sztuki , Trybuna Slaska, nr 225, 25-26 Wrzesnia 1997
Chwila dla prowokatorow , Trybuna Slaska, nr 237, 1997.str.8
Miedzynarodowe Spotkania Sztuki , Gazeta Wyborcza, Katowice, 27 wrzesnia 1997
Spotkanie z awangarda , Trybuna Slaska, 27-28 wrzesnia 1997
Babin, S. Via l’art vivant en réseau , EssE arts + opinions (n°35), Montréal, 1998, str. 22-43, 1997
Fiset, J. Premier échange artistique international de Katowice , EssE arts + opinions (n°35), Montréal, 44-52, 1998
Shinjo, K. International meeting of artists in Katowice , MMAC, Mixed
Media Art Communications. Vol 5, Tokyo, str 1-5, 1998
Miedzynarodowe Spotkania Sztuki Katowice'97 - relacje, interpretacje, noty, Format nr 26/27, Wroclaw, 1997a
Bury, J. Miedzynarodowe Spotkania Sztuki Katowice , pp. 636-637 et 648, in : Meschnik, M. (dir.), Biuro Wystaw Artystycznych w Katowicach 1946-1999, Pl. : Galeria Sztuki Wspolczesnej BWA Katowice 2001a
Patrick, K. Alison Dalwood Neue Arbeiten ,
University of Hertfordshire, 1996, ISBN: 1-898543-13-5
Adams, C. Transactions , Reed’s Wharf Gallery, 1996, ISBN: 1-899268-05-7
Eighth International Print Biennale , Cartwright Hall, Bradford, 1984
John Moores Liverpool Exhibition 12 , Walker Art Gallery, Liverpool, 1980
Alison Dalwood at 77 Brushfield Street , City Limits, 28 Jan 1993
Feaver, W. John Moores Exhibition Review , citing Alison Dalwood, Observer Newspaper
Silkin, J. Two Images of Continuing Trouble: A Poem by Jon Silkin drawings by Alison Dalwood. Keepsake Press