Kristin Mojsiewicz teaches at PGT and PGR level in Art. She is an experienced supervisor, reviewer and examiner of doctoral students, particularly in practice-based research. She also contributes to the Research Methods component on the doctoral programmes in Art and Design.

On the Masters of Contemporary Art Practice programme she is course organiser for Sites, focussing on the specificity of location and encountering the artwork, and teaches on Studio and Practices, which develop and re-think ways of making and unmaking. Alongside this she contributes to seminar courses Methods and Future Business of Art which invite students to critically interrogate the conceptualisation, production and dissemination of art in relation to strategies of DIY and artist-led cultures.

Mojsiewicz has previously taught on UG courses in visual culture, sculpture, drawing practices, and time-based media. Prior to her employment at ECA she has taught UG and PG students at a range of institutions, including: Sheffield Hallam University, Manchester Metropolitan University, Grays School of Art, and the University of Newcastle Upon Tyne.

Mojsiewicz completed a practice-led doctorate in 2009 entitled 'Investigating disorientation through the adoption of role-play in contemporary fine art practice'.  She is currently researching an expansion of the ideas and key locations in Eastern Europe, speculatively titled Fugitive Fictions, which sit at the centre of the thesis. Her solo video work has screened at: Arsenals Riga, Kiasma Museum of Contemporary Art Helsinki, Kunsthalle Vienna, Centre for Contemporary Art Warsaw, Centre for Contemporary Art Normandy, Kunsthalle Exnergasse Vienna, Kölnischer Kunstverein Cologne, and international film festivals.

Her research interests include: role-play and the navigation of space, fugitive identities, surrogate landscapes, filmic disorientation, 3D body scanning technologies, new media archaeology, sculptural installation, and moving image work.

Brass Art have built a practice over more than 20 years which has collaboration at its core and extends to include other practitioners and specialists. Their practice is situated in the overlapping areas of drawing, sculpture, audio-visual installation and moving image work. Through deliberate misuse of both digital and analogue light-based technologies, they explore the creative and performative potential of 3D bodyscanning technology, 3D rapid prototyping, and Kinect on-range scanning to create digital shadowplays and sculptural ‘doubles’. These light-based methods are used to leave no physical trace in heritage or protected spaces, and the resulting artwork can ‘open’ inaccessible spaces to audiences through performance events or virtual means.

As part of their ongoing research into a ‘vital’ uncanny, Brass Art convened a one-day symposium Folds in Time: artists responses to the temporal and the uncanny with invited participants Lindsay Seers, Patricia Allmer, Saskia Olde Wolbers, Artangel, Alison Rowley, Pavel Pys, Rebecca Fortnum, Rachel Withers and Daniel Silver at the Freud Museum in 2015.

Previous research partners have included: Manchester University Museum, The Bill Douglas Collection, Bronte Parsonage, The Freud Museum London, Monk’s House, and Chetham’s Library.