Programme: Art - PhD/MPhil

Start date: September 2012

Mode of study: Full time

Research title: S L / \ S H : embodiment, liminality and epistemology in relief printmaking through the linocut process.

Tess Barnard holds a Bachelor of Fine Art with first class Honours (2008) from the College of Fine Art, University of New South Wales, Australia, majoring in printmaking. Having relocated to Scotland in 2010, she obtained a Masters of Design in Visual Communication from the Glasgow School of Art in 2012. Tess is currently in the final stages of completing her practice-led PhD at the University of Edinburgh exploring embodiment, liminality, and epistemology in relief printmaking through the linocut process. Following this she aims to continue her practice research, academic and art writing, and teach across related fields.

Tess Barnard’s practice-led research explores the processes that attend to the production of a linocut relief print through a framework whose key concepts are liminality and embodiment. In pursuit of this her thesis investigates the subjects of skin and surface as well as cuts and cutting through themes and issues of touch and time that include connection and continuity, ‘direct’ creative touch, artist-tool/technology relations, memory, repetition and rhythmicity, transmissions of time, translation, tracking, chronology and equivalence. These subjects and themes’ liminal qualities and characteristics are mirrored by a methodology devised and employed throughout the research. This methodology employs the interpenetrative, interconnected, and reflexive methods of a durational, physically challenging repeat printmaking experiment, longhand letter writing, and the multiple register writing of the thesis. It does so in a purposely oblique and ‘wayfaring’ (Tim Ingold, 2011) approach. Binaries and boundaries are thus explored without risking their further enforcement, allowing diverse aspects and subjects to flow into and between one another with the freedom to contrast, contradict, and manifest inconsistently whilst ultimately moving towards a more comprehensive understanding of the research’s subjects. This liminal methodology contributes a set of research tools and framework propositions to the existing field of research in and of creative practice, including printmaking, and its embodiment.​