Scholarly biography and interests

Duncan Bullen is Academic Programme Leader for Fine Art. He has worked at Brighton since 1999 and has responsibility for overseeing, delivering and developing undergraduate and postgraduate study.

Duncan’s research interests encompass drawing and printmaking as a way of slowing down the activity of making and explore the pivotal value of sensory acuity, focusing on seeing and touch through hand, breath and surface. Bullen discusses his concerns in terms of ‘being present’ and ‘making present’, and attempts to conceptualise his research with reference to theory about drawing and meditation practice. Central to Bullen’s work is a concern for the reciprocity between the individual practitioner and the world, a position, which advocates the importance of the experiential sentient body and meliorative development as sites of exchange.

Bullen employs both haptic and computational methods of construction leading to non-representational drawing processes in which each work is developed through a methodical production, characterised by repetition and stasis. He sees this as being neither self-expression or conceptually led, but rather experiential and meditational. In this he is involved in positioning printmaking as an extension of drawing, as well as extending its field through the 'artist book' and collaborative initiatives. 

Duncan Bullen studied at Fine Art at Leeds Polytechnic in the mid 1980s, before completing his MA in Printmaking at the Royal College of Art in 1991. He was recipient of a Rome Scholarship, spending 1991-‘92 at the British School at Rome. After this he undertook a series of residencies at the Eremo di Santa Caterina, a former hermitage on the Italian Island of Elba. He has had several solo exhibitions and has participated in many internationally recognised shows in the United Kingdom, United States, Latin America, Africa, Asia and Europe.

Recent and current project's include Chromatic Fields a collaboration with the composer Jamie Crofts, Both/And: Drawing and the tolerance of ambiguity with Angela Rogers at Thinking through Drawing 2015, Touchingthe World Lightly, with Jane Fox and Philippa Lyon, Hopes & Fears, with Alice Fox and the Inclusive Arts course at Epic Arts, Cambodia, 50x50=25 involving seventy five artists from King Mongkut's Institute of Technology, Bangkok, Thailand, Nagoya University, Japan and the University of Brighton and a print folio with Saturation Point involving ten artists working with reductive and systems based practice.

His writing includes the chapter Drawing Colour: Between the Line and the Field in The Mobility of the Line, edited by Ivana Wingham and published by Birkhauser Verlag. 


How I like to teach

My teaching is primarily studio and workshop based with a focus on the artifact in various stages of production, and the various processes and strategies students might adopt to realise their own specific artwork. This is often through a descriptive and interpretive process that  involves students in evaluative discussions that focus on conceptual and formal analysis and contextual reference. Students in Printmaking actively learn through engagement with the process and the shaping of materials. As a teacher I am interested in experiential and reflective learning as a formation of our meaningful relationship to the wider world. How as makers we not only shape the object made, but how this has the potential to shape the maker, which in turn shapes our world of work and the environment.

In group tutorial or seminar settings I actively facilitate and encourage students to find their own voices and to develop an awareness of their own learning in relation to their peer group. The aim is that learning and teaching embraces both independence and interdependence, which is reciprocal for all participants. Inclusivity, openness, honesty and respect for multiple points of view being core values that underpin the transfer of knowledge and the sharing of experience. I believe it is important in this setting that students use verbal explanation and note taking to clarify thinking and communicate understanding.

I use projects as a means of actively engaging students in collaborative and cooperative learning which allows them to work towards a common learning task. For instance, the creation of print folio editions enable contextual and professional practice opportunities through exhibition, marketing and publication, with opportunities to reflect on group work and processes.

As students approach graduation or study at postgraduate level, I pursue learning in conversational settings, assisting them in gaining access to appropriate areas or research and school resources such as workshops and technical support, as well as discussing relevant theory and critical and professional texts, to help devise documentation and professional promotional strategies and frameworks. 

Featured works and projects

Chromatic Fields

Chromatic Fields is a collaborative project between the composer Jamie Crofts and Duncan Bullen that centres around a limited edition book work.

Full Stop, Standard Palette, Printer Drawings

Exploring how colour is perceived, and how experience of colour may be manipulated by blurring the boundaries between drawing and printing

Drawing Colour: Between the line and the field

This paper explores and expands upon Bullen's drawing practice in terms of both process, production and perceptual experience

Figuring Light: Colour and the Intangible

A group of works in which colour relationships are activated by drawn points of silver and colour pencil on gesso coated panels

Night Prayers

An artist book by Duncan Bullen that explores the possibility of abstraction to communicate an attachment to a localised experience of place

Silence and Light

An exploration of abstraction and the sacred, in particular the problems involved in articulating silence and light in contemporary abstraction

Scholarly activity

Repository holdings 

Number of items: 9.

Bullen, Duncan, Fox, Jane and Lyon, Philippa (2016) Practice-infused drawing research: 'being present' and 'making present' Drawing: Research, Theory, Practice, 2 (1). pp. 129-142. ISSN 2057-0384 (In Press)

Bullen, Duncan (2013) Drawing colour: between the line and the field In: Wingham, I., ed. Mobility of the line. Birkhäuser, Basel, pp. 154-163. ISBN 9783034608244

Bullen, Duncan (2012) Full Stop, Standard Palette, Printer Drawings: Colour as readymade [Artefact]

Bullen, Duncan (2012) Chromatic fields: print media and the artist book In: IMPACT 7 International Multi Disciplinary Printmaking: Intersections and Counterpoints Conference, 26-30 September 2011, MONASH University, Melbourne, Australia.

Bullen, Duncan (2011) Chromatic Fields - artist book and exhibitions [Exhibition]

Bullen, Duncan (2009) Drawing the world, world of drawing [Exhibition]

Bullen, Duncan (2008) Drawing Light (series of drawings) Djanogly Gallery, Nottingham University, Nottingham, UK.

Bullen, Duncan (2008) Figuring Light: Colour and the Intangible [Exhibition]

Bullen, Duncan (2006) Silence and Light Otter Gallery, University of Chichester, Chicheter, UK.

This list was generated on Fri Dec 15 20:03:06 2017 GMT.

Further professional and research activity 

2015

Selected Group Exhibitions

Global Print, 8th Douro International Printmaking Biennial , Portugal (invited)

This is Change, ONCA Centre for Arts and Ecology, Brighton (curated by Duncan Bullen, Alice Clayton, Laura Coleman and Philippa Lyon)

Conference Papers, Symposia and Lectures 

Drawing as Mindfulness, paper at the Visual and Verbal international symposium, University of Brighton (17 June, 2016)

Dwelling, Touching, longing: Drawing urban spaces, a method of researching, navigating and articulating a sense of place,panel presentation, 4th International Visual Methods Conference, University of Brighton, 16-18 September, 2015.

Both/And: Drawing and the Tolerance of Ambiguity (with Angela Rogers), Thinking Through Drawing: International Drawing and Cognition Research and Education Symposium, South Bank, London, (6-8 November, 2015).

Interview by Ben Gooding with Duncan Bullen, Saturation Point, the online editorial and curatorial journal for reductive, geometric and systems artists working in the UK.

Consultancy

‘Cy Twombly: Quattro Stagioni’, De La Warr Pavilion: independent internal assessor

2014

Selected Group Exhibitions

Artizan Editions, Curwen Gallery, London

Mobility of the Line, University of Brighton

Combinations, Centre for Contemporary Printmaking, Seacourt, N. Ireland

Global Print, 7th Douro Bienal Internacional de Gravura do Douro, Portugal (invited)

British and Russian Artist Books, Tsaritsyno State Museum and Pavel Kuznetsov Museum, Moscow

Two Cities, Nanjing Art Museum, China

Panel chair

Line, Gesture and Trace: Current Perspectives on Drawing, Fabrica, Brighton.

2013

Selected One and Two Person Exhibitions

  • A Time to Keep Silence,Ian Rastrick Fine Art, St Albans

Selected Group Exhibitions

  • 4th International Book Arts, Bank Street Arts, Sheffield
  • Parallel Prints, Art at Wharepuke, NZ, Ian Rastrick Fine Art, St Albans, Galerie Apart, Le Bourg, France
  • Press and Release, Phoenix Gallery, Brighton
  • Print International, Memorial Gallery, Yale College Oriel Wrecsam
  • Aggregation, Art at Wharepuke, New Zealand

Publications

  • Drawing Colour: Between the Line and the Field, book chapter Mobility of the Line. Art, Architecture and Design edited by Ivana Wingham, Birkhäuser publications Basel. ISBN 978-3-0346-0824-4

2012

Selected One and Two Person Exhibitions 

  • Chromatic Fields (with Jamie Crofts) Ian Rastrick Fine Art, St Albans

Selected Group Exhibitions

  • Out of the Box, No-Format Gallery, London
  • BITE, Printmaking, Mall Galleries, London
  • A4 Printmakers International, the Poly, Falmouth and Wheal Martin, St Austel
  • England, Art at Wharepuke, New Zealand 

Publications

Writings (journals, book chapters, conference proceedings)

  • Drawing Light, paper by Duncan Bullen in the Journal of the International Colour Association (JAIC) 6, 6-13 http://www.aic-color.org
  • Chromatic Fields: Print Media and the Artist Book, paper Intersections and Counterpoints, Impact 7, International Multi-Disciplinary Printmaking Conference, edited by Luke Morgan, Monash Art and Design 2013 ISBN 978-1-921867-56-9

Articles, Reviews and Books

  • Artists' Books: Sound and Vision, Sarah Bodman, Printmaking Today, Vol 21, No 1, Spring 2012, p.33
  • Contemporary Art and Colour Thinking, Dr. Richard Davey and Prof. Judith Mottram, Journal of the International Colour Association (JIAC) 2012, 6, 1-5

2011

Selected One and Two Person Exhibitions

  • Chromatic Fields (with Jamie Crofts) Art at Wharepuke, New Zealand

Selected Group Exhibitions

  • Soundwaves Festival (with Jamie Crofts), University of Brighton
  • HOUSE, Regency Town House, Brighton
  • Gallery 20, Brighton

Publications

Articles, Reviews and Books

  • Chromatic Fields, Book Arts Newsletter No 68, edited by Sarah Bodman. UWE Bristol, School of Creative Arts, Department of Art and Design. ISSN 1754-9086
  • Chromatic Fields at Art at Wharepuke, About the Arts Mike Nettmann, Bay Chronicle, September 29th 2011 

Artists Books

  • Chromatic Fields (with Jamie Crofts), SOUNDkiosk/University of Brighton (Artist Book)

Conference Papers, Symposia and Lectures 

  • Chromatic Fields: Print Media and the Artist Book. Conference paper at Impact 7, International Multi-Disciplinary Printmaking, Monash University, Melbourne
  • Chromatic Fields: Print Media and the Artist Book, paper by Duncan Bullen, Impact 7, International Multi-Disciplinary Printmaking Conference, Intersections and Counterpoints, MONASH University, Melbourne, Australia
  • Artist Talk at North Tec (Northland Polytechnic), KeriKeri, New Zealand 

Awards & Residencies

  • Art at Wharepuke, New Zealand

2010

Conference Papers, Symposia and Lectures

  • Panel chair; Drawing Research Network Annual Conference, Observation: Mapping: Dialogue, University of Brighton

2009

Selected Group Exhibitions

  • Drawing of the World, World of Drawing, Museum of Art, Seoul, Korea
  • From Art School to University, Art and Design at Brighton 1859-2009 

Exhibition Catalogues

  • Drawing of the World, World of Drawing (exhibition catalogue) text by Jina Kim PhD/ Assistant Professor Hanyang University, Museum of Art, Seoul National University
  • From Art School to University, Art and Design at Brighton 1859-2009

Articles, Reviews and Books

  • Left Lion, Nottingham Culture, Laura Gavin, thisisNottingham.co.uk/ Evening Post
  • Printmaking on a Budget, Mandy Bonnell and Steve Mumberson, A&C Black, ISBN-978-07136-7349-4

Conference Papers, Symposia and Lectures

  • Figuring Light; Colour & the Intangible, Djanogly Gallery, Nottingham University, organised by Nottingham Trent University, chaired by Dr. Richard Davey, artists Duncan Bullen, Jane Bustin, Rebecca Partridge, Richard Kenton-Webb. Individual presentations followed by panel debate and audience questions
  • Artist Talk, Phoenix Studios, HOUSE, Brighton Fringe Festival

2008

Selected Group Exhibitions

  • Figuring Light; Colour & the Intangible, Djanogly Gallery, Nottingham
  • Printmaking, RaMoMA, Rahimtulla Gallery, Kenya

Exhibition Catalogues

  • Figuring Light, Introduction - Being Serious about Colour by Professor Judith Mottram, text -The Fugitive Rainbow, Dr. Richard Davey and Colour ConversationsDuncan Bullen, Jane Bustin, Rebecca Partridge, Richard Kenton Webb, Djanogly Gallery, ISBN 978-1-900809-56-6

Conference Papers, Symposia and Lectures

  • Artist Talk, Phoenix Studios, HOUSE, Brighton Fringe Festival

2000 - 2007

Selected One and Two Person Exhibitions

2006 

  • Silence and Light, Otter Gallery, University of Chichester
  • Duncan Bullen and Jenny Smith Maltby Gallery, Winchester
  • Night Prayers, Star Gallery, Lewes

2004 

  • Night Prayers, Eremo di Santa Caterina, Elba, Italy

2003 

  • From Silence, Jill George Gallery, London

2002 

  • Still, White Gallery, Brighton

2001 

  • Dark Light, Jill George Gallery, London

Selected Group Exhibitions

2007

  • Bend in the River, Gainsborough, Lincolnshire
  • Orleans House, London
  • Celebration of the Book, University of Manchester
  • International Mini Print, Leicester Print workshop/ City Gallery (& tour - University College, Northampton, Aberystwth Arts Centre, Gainsborough’s House, Sudbury)

2006

  • A Decade of Artists Books at EPI, Lafayette College, PA, USA
  • Celebration of the Book, Centro Cultural, San Jose, Costa Rica & Universidad Autonomo Metropolitan, Mexico City
  • Contemporary Print 4, London Print Studio

2005 

  • Space & Spirit, Center Art Gallery, Calvin College, MI USA

 2004 

  •  Blank Canvas, Foster Art, London
  • On-Site, Phoenix Art Gallery, Brighton
  • Contemporary Print 2, London Print Studio 

2003 

  • Hortulus Animae, Eremo di Santa Caterina, Elba, Italy
  • Momentum, Keller & Greene Gallery, Los Angeles, USA
  • Ex-Press, Printmaking from the RCA, Gulbenkian Galleries, London

2002 

  • San Francisco International Art Exposition
  • Adapt Now, Museum & Art Gallery, Glasgow
  • CrusAid, Bloomberg Space, London

2001 

  • San Francisco International Art Exposition
  • White Gallery, Brighton
  • Art to Z, Zwemmer Gallery, London

Awards & Residencies

2007

  • International Mini Print, Prize Winner

2005 

  • Artist/Scholar Experimental Printmaking Institute, PA, USA

2003 

  • Arts & Humanities Research Board, Small Grants Award

Publications:

Writings (journals, book chapters, conference proceedings)

 2006 

  • Silence and Light, text by Richard Davey, University of Chichester

2001

  • Dark Light, (exhibition catalogue) text At the Still Point… by Anna Moszyanska, Jill George Galllery

2000

  • Adapt Now, (exhibition catalogue)Museum & Art Gallery, Glasgow

Articles, Reviews and Books

 2007 

  • The smaller the better, Anne Desmet, Printmaking Today Vol 16 No4 Winter 2007

2006 

  • For the record, not abstract, Richard Davey, Church Times, 7th April
  • New Dimensions – Artist Books, Emma Hill, Printmaking Today Vol 15 No2 Summer 

2000

  • Transformed by the Light, Hattie Gordon, The Argus, Brighton May 17th, Los Angeles Times, June 2003

Artists Books 

2005 

  • Silence Light Artist Book, EPI, Lafayette College, PA

2004

  • Night Prayers, Artist Book, Edizioni S. Caterina

Conference Papers, Symposia and Lectures

2006

  • Artist Talk, Otter Gallery, University of Chichester

2005 

  • Artist Talk, Star Gallery, Lewes

2002 

  • In Conversation, Duncan Bullen and Norbert Lynton, White Gallery, Brighton

1991-1999

Selected One and Two Person Exhibitions

1999 

  • Hermetica, Jill George Gallery, London
  • Lumen (with Lorry Eason), Allenheads Centre for Contemporary Art, Northumberland 

1998 

  • Prints and Paintings, Loughborough College of Art and Design
  • Lumen (with Lorry Eason), Eremo di Santa Caterina, Elba, Italy 

1997 

  • Isola, Jill George Gallery, London

1995 

  • New Paintings, Jill George Gallery, London

1993 

  • Small Work, Jill George Gallery

1992 

  • Millenovecentonovantadue, British School at Rome

Awards & Residencies

1992- 2003 

  • Artist in Residence - Eremo di Santa Caterina, Isola d’ Elba, Italy

1991-92 

  • Rome Scholarship, British School at Rome, Italy

1991 

  • Atlantis Paper Prize
  • CCA Gallery Award
  • Dell’ Arte Award

1990 

  • Artist in Residence, Cite International des Arts, Paris

Publications:

Writings (journals, book chapters, conference proceedings)

 1999

  • Hermetica, (exhibition catalogue) text by William Jackson, Jill George Galllery, London

1998

  • Paintings and Prints. text -An Island Vision by William Jackson. Loughborough College of Art and Design. ISBN 1 -900856-13-1
  • Lumen (exhibition catalogue) text by Hans Georg Berger. ISBN 0 9533256 01 

1992

  • Millenovecentonovantadue, text by Andrew Renton. British School at Rome

1991

  • Rimbaud Centenary, text by Jonathan Livingstone, Plymouth Art Centre. ISBN 0 948081 06 6

Articles, Reviews and Books

 1999

  • Hermetica, (exhibition catalogue) Introduction by William Jackson, Jill George Galllery, London

1998

  • Paintings and Prints. Text -An Island Vision - William Jackson. Loughborough College of Art and Design. ISBN 1 -900856-13-1
  • Lumen (exhibition catalogue) text by Hans Georg Berger. ISBN 0 9533256 01

1995

  • Quarderni di Santa Caterina, Rivista Annuale di Cultura no 3, Edited by Hans Georg Berger. Edizioni s. Caterina

1991 

  • Books 2, Rimbaud Centenary: Plymouth 1991, Art Monthly John Fuse
  • Regional Reviews, Rimbaud: the Poet in Paint, Art Review John Fuse

Citations and reviews

…In this project, drawing, music and printmaking combine as both study and exploration, a multi-sensory experience of measured looking and listening… The blank opening pages of this elegant book act as a white space, an invitation to settle down and relish the imagination and degree of reflection in the meticulously printed pages that follow. As a study in composition of music and image, the gentle movement of notes through pencil on paper and piano keyboard, emerges. Silence, introduced through the blank pages, acts as a pause between turns in the same way that plank pages in book works by Ed Ruscha have acted: we know that this indicates a breathing space, a pause between images and here, movement and sound as the patterns slowly rotate through the book. Images are built by eye, configurations slowly materialize as you work gradually through each page, responding to the tempo and pleasurably immersing yourself in the performance…

Bodman, Sarah, Artists’ Books: Sound and Vision, Printmaking Today Vol 21 No1 Spring 2012, p.33

Chromatic Fields at Art at Wharepuke …This is a positively stunning exhibition which requires time to absorb and should not be viewed in a hurry. Duncan’s “drawings” are mesmerizingly hypnotic and gracefully eloquent, in perfect harmony with Jamie’s music, interpreting silence as an active, preeminent condition for composition and perception. Take time out to see Chromatic Fields.

Nettmann, Mike, About the Arts, Bay Chronicle, NZ, September 29, 2011

Bullen … imposes grid-like structures upon his work ,.. he uses pin-head sized marks made by coloured pencils, repeated evenly, but with an arbitrary selection of colours, across a surface. He pulls and stretches the grid like a net, introducing the possibility for a moiré effect to be set up. He accepts the subjective chromatic experience of viewers, dependent on their own physiologies as well as ambient conditions, and cites colour’s distinctiveness as ‘its ability to speak to us in ways that are fluid, flexible and fleeting’.

Davey, Richard and Mottram, Judith, Contemporary art and colour thinking. Journal of the International Colour Association (2012) 6, 1-5

..the carefully painted canvasses are irradiated mostly by thin, vertical bands of light -coloured pigment, almost imperceptible close to, but which become more evident when looking from a distance... the pale bands or zips of colour seem to emerge from behind the flat surface... these beautiful if fugitive images, create an unmistakable aura of quietness or even silence. If anything, they evoke the paradoxical description of 'a white light still and moving' in TS Eliot's Four Quartets, and the later telling phrase, 'at the still point, there the dance is… he is also much affected by Quaker thought and practice… Quaker emphasis on silence and simplicity renders images as such distracting. With concentration placed on stilling the mind and finding quietness therein, little need is found for conventional imagery to decorate religious space – nor, for that matter, other art inspired by such ethics.
Moszynska, Anna, At the Still Point, Dark Light Exhibition Catalogue 2001, p.4-5, Jill George Gallery ISBN 0 9539571 -1-X

The tiny surface manipulations and visual archaeology in Bullen’s work may record the passing of time, but as our eyes become trapped in the search for such intimate details time seems to stand still. Signs of activity become symbols for silence, stillness, and timelessness; a visual analogy for the sacred space of the Eremo do Santa Caterina… One of Bullen’s principal concerns in his work, however, is with capturing something of the elusive, fugitive effects of light. The natural vehicle for this is colour. He uses colours for their transparency and opacity, he plays with their relationships, manipulating and using the different effects that they have on each other, and he explores the intense energy that is released at the point where they meet each other. The result is a series of works that seem to have an iridescent, almost metallic sheen to them that both contains and reflects light…These are works of stillness and light. They are human and intimate. There are no grand gestures or bold narratives. They are not monumental and overwhelming. Instead they offer an analogy for that still small voice in which God can be found, or that initial burst of light that He brought into being. What they are not is abstract.
Davey, Dr Richard, For the record, not abstract Church Times, 7th April 2005

Artists have long sought to represent the elusive, transient effects of light, but Bullen doesn’t just want to represent it, he has set himself the task of recreating it, painting images that are themselves generators of silence and light. He tackles the problem like a chemist bringing together unstable compounds, gently positioning a semi-circle of deep blue next to another of lighter blue, or a half quatrefoil of deep purple- blue next to one of orange-red. As they come into contact with each other they seem to release a burst of energy, a zip or halo of light that radiates out to the viewer…
Davey, Dr Richard, Silence and Light, Exhibition Catalogue  p. Otter Gallery, University of Chichester 2006)

Duncan Bullen’s Night Prayers, published in 2004, was conceived as one element of a residency and exhibition at the Eeremo di Santa Caterina on the Italian island of Elba. Working in the sacristy, with no electric light, Bullen made a series of abstract paintings and densely shaded small works on paper. The book reproduces seven of these in relation to fragments of text by the 13th century Dominican monk – Meister Eckhart. Bullen uses simple forms that explore the metaphorical potential for abstraction. The under-surface of the drawings is worked with intense colours over which he places veils of black, through which squares and grids emerge ike light. The fine litho printing by Andrew Purches of Senefelder press, conveys Bullen’s barely perceptible tonal gradations. Meister Eckhart’s texts are lifted from their Christian context to become meditations upon processes of thought, or in this case, the attempt of the artist visually to express immanence and transcendence.

Hill, Emma, Artists’ Books, Printmaking Today – Vol 15 No2, Summer 2006,

Grants and awards

2010: University of Brighton Sabbatical Award

2007: Small Print: Big Impression International Mini-Print Touring Exhibition - prize winner.

2005: Artist Scholar (Artist in Residence) at the Experimental Printmaking Institute, Lafayette College, PA, USA (July – August). Sponsored by Skillman Library, Lafayette College’s Roethke Humanities Festival, the Williams Center for the Arts Gallery, and EPI (Travel, Materials, Accommodation, and Research Assitant).

2003: Artist in Residence, Associazione degli Amici dell’Eremo di Santa Caterina Eremo di Santa Caterina (also (’92, ’94, ’95, 97, ‘98).

2003: AHRB Small Grants Award £5,000

1991-1992: Prix de Rome: Printmaking Scholarship, British School at Rome (Sept ’91 –June ’92).

Conference papers, symposia and lectures

2011

  • Chromatic Fields: Print Media and the Artist Book, paper by Duncan Bullen, Impact 7, International Multi-Disciplinary Printmaking Conference, Intersections and Counterpoints, MONASH University, Melbourne, Australia.
  • Artist Talk at North Tec (Northland Polytechnic), KeriKeri, New Zealand

2010

  • Panel chair; Drawing Research Network Annual Conference, Observation: Mapping: Dialogue, University of Brighton.

2009

  • Figuring Light; Colour & the Intangible, Djanogly Gallery, Nottingham University, organised by Nottingham Trent University, chaired by Dr. Richard Davey, artists Duncan Bullen, Jane Bustin, Rebecca Partridge, Richard Kenton-Webb. Individual presentations followed by panel debate and audience questions.
  • Artist Talk, Phoenix Studios, HOUSE, Brighton Fringe Festival.

2008

  • Artist Talk, Phoenix Studios, HOUSE, Brighton Fringe Festival

2006

  • Artist Talk, Otter Gallery, University of Chichester

2005

  • Artist Talk, Star Gallery, Lewes

2002

  • In Conversation, Duncan Bullen and Norbert Lynton, White Gallery, Brighton
         
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