Miriam is an artist and practice-based PhD candidate based in the School of Art at ECA, funded by the Edinburgh College of Art PhD Scholarship.
Her research project (Un)Learning in the Workshop: exploring the relationship between working environments and innovation within contemporary printmaking practices considers how a reflective and expanded approach to the printmaker’s workshop can, through the lens of unlearning, offer alternative procedural approaches within contemporary print practices.
Miriam’s artistic practice thematises the generative nature of the printmaker’s studio, re-contextualising its apparatus and processes from mechanical means of technical mastery to central elements in the artist’s decision-making process. It makes explicit the media, tools, decisions and actions of the printmaker within the workshop setting, highlighting the labour and tactile nature of practical application.
Miriam holds an MFA in Contemporary Art Practice from Edinburgh College of Art (2020), and a BA (Hons) in Fine Art from Newcastle University (2015).
Miriam currently teaches on the Environmental Practices course in ESALA at ECA.
She has also delivered practical printmaking workshops and artist talks at Leith School of Art, Edinburgh (2021), Newcastle University (2020), and the University of Sunderland (2016).
Miriam is a PGR Student Rep for the School of Art. In March 2023, alongside fellow rep Alex Mascolo, she organised and ran ECA's first PhD Showcase which brought together the work of PhD students across Art, Design, ESALA, History of Art, and Music.
Selected research outputs:
In 2022 Miriam contributed to the IMPACT 12 Printmaking Conference, The Printmaker's Voice, where she presented her academic paper Monoprint: an opening up of printness? She also spoke alongside ECA PhD colleagues Rachel Adams, Sandra De Rycker and Elizabeth Tomos in the panel To Print or Not to Print - Epistemological, Methodological and Practical Issues of the PhD in print, chaired by Dr Ruth Pelzer-Montada.
Hancill, M. (2023) “Monoprint: an opening up of ‘printness’?”, IMPACT Printmaking Journal, (1), p. 18. doi: 10.54632/22.7.IMPJ6.