The Deep Field Project research studio is led by Neal White with support from Jol Thoms (Goldsmiths, University of London). Neal White is an artist who leads the Office of Experiments, and an experienced academic / supervisor. He is Co-Director of CREAM at Westminster School of Arts. Jol Thoms is an experienced arts educator, artist, and researcher active internationally. He is a Lecturer on the MA in Art and Ecology at Goldsmiths since 2021.
The Deep Field Project includes investigators who collaborate across multiple inquiries of shared, interdisciplinary interests. White, along with Jol Thoms (CA) and Diann Bauer (US/UK) are currently working on a long term project; ‘An Atlas of Chronographic Things‘. Developed from a proposal co-ordinated with Stefanie Hessler (DE), Curator and Director of Kunsthalle Trondheim, Norway, who is currently a research associate in CREAM, the first instalment included White’s reflections on gerontology/cryonics and sneezing; fieldwork from Jol Thoms’ recently submitted PhD that included metaphysical investigations into the implications of posthuman, neo-materialist philosophy on vast, anomalous experimental physics landscapes, and; Diann Bauer’s developing PhD research inquiry around notions of ‘Xenotemporality’.
Other graduate research supervised by White includes artist Jasmijn Visser (NL) work with the Rachel Carson Centre, Munich on ‘Art and Environmental Conflict’ (with Shezad Dawood); James Snazzel (UK), who is exploring the Emulsive Materialities of Salt Landscapes and Film (with Julie Marsh), and Harry Meadows who is examining ‘Agonism and allegory in the climate sensing practice of the personal weather station’ (with Julie Marsh)
We are also home to a number of artists / investigators who are writing up research that resonates with our aims and is already available in published or public form – exhibition, films etc. Ongoing PhD by Publication in this area include ‘Art, Curating and Public Engagement at the intersection of Art and Science’ by Alasdair Hopwood and ‘Co-creating with single celled intelligence: Exploring the value of a model organism within artistic research‘ by Heather Barnett. Completed PhDs in this area include; ‘Sensory Cities and sensor based inquiry of real time global observations currently employed via data harvesting technologies’ – a critical reflection by Stanza; and ‘Dataremix: Aesthetic Experiences of Big Data and Data Abstraction’ by Ruth West.
We welcome interests from all experienced artists and researchers interested in working with The Deep Field Project on future investigations of shared interest.