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In my process-orientated studio practice, I try to let my decisions be governed by the behaviour of materials, individually and in relation to one another. Drawing on contemporary theories around objecthood and making, individual works assimilate the conditions in which they are made. During short studio sessions I work with components and materials that I keeps deliberately close to hand, in order to enable a responsive approach to the thing I am making. In work that is apparently casually and speedily made, the legacy of a repetitive and therefore paradoxically slow process is disclosed. With the goal of loosening familiar objects and motifs from their bearings in everyday life, I often remake each sculpture numerous times, paring down to locate and condense its essence.
I enjoy the relationship between teaching and making and I believe in working towards a more inclusive and dynamic learning environment for fine artists in higher education. In collaboration with artists and teacher Natasha Kidd, I am part of a collaborative practice through which we explore how learning is manifested in form. Often working with our students and to explore the challenges and opportunities that arise from teaching and learning about art practice, we are keen to relate to other disciplines when reflecting on our own. To date, this has resulted in the production of a number of significant educational resources, objects and events, participation in educational research groups and contributions to books, national and international conferences and symposia.
I studied BA Fine Art, Norfolk Institute of Art & Design after which I spent some time living and working in Glasgow. Post-graduate study at the Slade brought me to London and I have been living and working here since. I am represented by Tintype Gallery, where as well as exhibiting my work I have curated projects including Work Work, a group show about the synthesis of teaching and making.
Acting Head of Department, Fine Art
The relationship between objects and the body, and of objects to one another is intrinsic to the haptic and spatial curiosity at the heart of my sculptural research. Drawing from Bruno Latour, James Elkin, Jane Bennet's theories on things, and Tim Ingold and Richard Sennet's writing on making, I implement methods by which my decisions are governed by the behaviour of materials.
Additionally, in collaboration with Natasha Kidd, I am engaged in a collaborative practice. Consistent with our own individual research in to the conditions of making, our collaborative research explores learning as form. Often sited in other organisations; galleries, museums, symposia, our performances and live events are designed to stage learning away from the constraints of academia. Often making reference to historical and contemporary art practice, and frequently subverting mainstream educational mechanisms, we deliberately position ourselves alongside other participants, divesting ourselves of institutional power relations.
Addison, Joanne (2019) Regulation, resistance, readiness and care : what can be learnt by performing the peripheral behaviours of artists? In: Campbell, Lee and Kidd, Natasha, (eds.) Leap into action : critical performance pedagogies in art & design education. U.S. : Peter Lang. ISBN 9781433166402 (In Press)
Addison, Joanne and Kidd, Natasha (2017) Live resource. In: Turvey, Leanne , Walton, Alice and Daly, Eileen, (eds.) In site of conversation. London, U.K. : Tate Publishing. pp. 67-145. ISBN 9781849764735
Addison, Joanne [Artist] and Kidd, Natasha [Artist] (2017) No working title. In: Inventory of behaviours: what is a studio and how do we use one?; 7-17 Feb 2017, blip blip blip, East Street Arts, Patrick Studios, St. Mary's Lane, Leeds, U.K.. (Unpublished)
Addison, Jo [Artist] and Kidd, Natasha [Artist] (2019) Inventory of behaviours: readiness, regulation, resistance.