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Denise Startin

MA work

Practice aims to complicate the relations between the found, readymade, re-made readymade, the staged and appropriated and the problematic dialogue between object as image and image as object. This is facilitated conceptually by the performativity of print, the relationship between the original and the copy and the role of the artist as one who performs, augments and choreographs the exhibition space as a visual performance.

Operating at the intersection of the visual and textual practice adopts a discursive approach to the poetics of subject formation. Throughout this process thematic, contextual and biographical information merges and divergent, polyphonic, narrative threads are interwoven to form part of a complex whole. Objects, words and images are unwritten and re-written blending fact with fiction. Deliberation encounters contingency and improvisation. The outcome, although driven by conceptual logic, is allowed to determine its own context, boundaries and form. This creates a reflexive narrative, into which the audience is implicated, questioning the construction of meaning and the role of representation in configuring reality.

Currently practice is concerned with the performance of the private and the passage of artefacts from the private into the public realm. Engaging with the expanded, dispersed and vernacular collection this current body of work aims to stage a subtle critique of the faux authentic performed through symbolic image-objects, whilst acknowledging the role of cliché, in relation to unrequited love, failed communication and failed relationships.

Info

  • Denise Startin profile image
  • MA Degree

    School

    School of Humanities

    Programme

    MA Printmaking, 2013

  • Practice aims to complicate the relations between the found, readymade, re-made readymade, the staged and appropriated and the problematic dialogue between object as image and image as object. This is facilitated conceptually by the performativity of print, the relationship between the original and the copy and the role of the artist as one who performs, augments and choreographs the exhibition space as a visual performance.

    Operating at the intersection of the visual and textual practice adopts a discursive approach to the poetics of subject formation. Throughout this process thematic, contextual and biographical information merges and divergent, polyphonic, narrative threads are interwoven to form part of a complex whole. Objects, words and images are unwritten and re-written blending fact with fiction. Deliberation encounters contingency and improvisation. The outcome, although driven by conceptual logic, is allowed to determine its own context, boundaries and form. This creates a reflexive narrative, into which the audience is implicated, questioning the construction of meaning and the role of representation in configuring reality.

    Currently practice is concerned with the performance of the private and the passage of artefacts from the private into the public realm. Engaging with the expanded, dispersed and vernacular collection this current body of work aims to stage a subtle critique of the faux authentic performed through symbolic image-objects, whilst acknowledging the role of cliché, in relation to unrequited love, failed communication and failed relationships.

  • Degrees

  • BA (Hons), Fine Art, University of Coventry, 2009
  • Experience

  • Research and curatorial assistant, VIVID, Birmingham, 2009; Research assistant to Professor John Goto, Coventry, 2007; Assistant marketing communications manager, Alliance and Leicester, Leicester, 2002
  • Exhibitions

  • Parallax, Cafe Gallery Projects, London, 2013; RCA Secret, Royal College of Art, London, 2013; Cafe Gallery Projects, London, 2012; The Book of the Dead, Feral Choir, British Museum, London, 2011
  • Awards

  • Matthew Wrightson Charity Trust, 2013
  • Publications

  • Parallax, RCA Printmaking, 2013