VISIBLE INSTITUTE - RESEARCHERS
JULIAN RODRIGUEZ - Head of Department & Co-Director for V-INST
PHILLIP WARNELL - V-INST Director & Associate Professor . ANNE-KATHRINE BINDESBØLL - Senior Lecturer in Filmmaking
NELSON DOUGLAS - Senior Lecturer in Film
DIEGO FERRARI - Senior Lecturer in Photography
ABBE FLETCHER - Senior Lecturer in Film
LUCY HARRIS - Editor and Filmmaker ANTHONY LAM - Senior Lecturer in Photography
EDWARD LAWRENSON - Senior Lecturer in Filmmaking KOLTON LEE - Senior Lecturer in Film KEN MCMULLEN - Professor of Film
CHARLIE MURPHY - Senior Lecturer in Photography
BARBARA NICHOLLS - Cinematographer
Dr SHANE O'SULLIVAN - Senior Lecturer in Film
LUCY PARKER - Senior Lecturer in Film
Dr JUDY PRICE - Senior Lecturer in Photography and Moving Image
RICHARD SQUIRES - Senior Lecturer in Filmmaking SEAN WYATT - Lecturer in Photography & Senior Technician NANA VARVEROPOULOU - Senior Lecturer in Photography
SESSIONAL and Adjunct STAFF
GABRIELLA APICELLA - Filmmaking
MIKE COOTER - Filmmaking
JACQUI DAVIES - Producing
ONYEKA IGWE - Filmmaking
IRENA KALODERA - Filmmaking
SHAMA KHANNA - Filmmaking
INGRID POLLARD - Photography and Moving Image
FILIPA RAMOS - Filmmaking
JESSICA RINLAND - Filmmaking
WILL SAUNDERS - Filmmaking
Senior Lecturer and filmmaker Anne Kathrine Bindesbøll holds a graduate degree in film from California Institute of the Arts (CalArts) and an undergraduate degree in film studies from the University of Copenhagen. Her work is concerned with minimal explorations of space, gesture and ambiguity. She is the director of Boy, a coming of age story about a teenager coping with the aftermath of an incestuous relationship with his stepmother, and is currently working on a film investigating familial relationships of two. Through Kingston University, she is currently involved as a mentor in Stop Play Record, a scheme for young filmmakers in partnership with Random Acts (Channel 4) and the ICA.
KOLTON started out as a journalist and became the UK's first black news editor when working for the socialist-based newspaper News on Sunday. He went on to work in British television writing for Eastenders, Byker Grove and Brothers & Sisters before turning his hand to filmmaking as a writer/director. Kolton has made two features: Cherps (2007) and Freestyle (2010) and has two features in development. Kolton made the highly acclaimed short American Mod in New York and his play An Evening with Michael Jordan was staged at the National Black Theatre of Harlem. His debut novel The Last Card, was published in 2007.
Nelson Douglas is a Senior Lecturer and lens-based media artist. His work spans both film and photography and for the last 10 years, Nelson has produced a series of exhibitions and films working with community groups excluded from mainstream society by education language, culture and gender. Much of his work has been commissioned / exhibited by English Heritage, Arts Council of Great Britain and The National Trust.
Diego Ferrari is Senior Lecturer on the BA in Photography at Kingston University. His recent photographic work interrogates the relationship between social values and public space. His work has been widely exhibited with shows in London, Berlin, Barcelona, Budapest and China. He studied Fine Art in Barcelona before graduating with a BA in Fine Art from Goldsmith’s College and also holds an MA in Art and Architecture at the University of Canterbury. He also teaches photography and performativity on the Masters in Photography and Design at Elisava University, Barcelona and lectures on the MA in Photography and Urban Cultures at Goldsmith’s College. Since 2012 he has been co-programmer of the annual Urban Encounters photography symposium at the Tate Britain.
In The Schengen Principle Anthony Lam looks at a shifts in the social and economic fabric of East London and Canary Wharf – the impact of towering commercialisation, business and new money and how existing adjacent communities survive and defy change. At the centre of Anthony’s work lies an exploration of the expanding relationship between photography and contemporary society – addressing issues of identity and place – often at the margins. He has developed participatory approaches to unlock political, social and cultural themes. His work is the collections / archives of Tate, The British Council and Autograph. He has worked on collaborative projects with The Photographers’ Gallery, The Barbican, Brighton Photo Biennial, Chinese Art Centre, Mass Observation Archive and National Portrait Gallery.
Senior Lecturer in filmmaking, Edward Lawrenson is an award winning filmmaker: his 2015 documentary/archive film 'Abandoned Goods' was awarded the Golden Leopard for Best International Short at the Locarno Film Festival. It was featured in a major exhibition by the Wellcome Trust in London in October 2016. Ed writes on cinema for a number of publications, and was deputy editor of Sight & Sound (2000-2006). He is currently a programme consultant for BFI London Film Festival, and previously programmed for the Edinburgh International Film Festival. He is currently working on a documentary on new town architecture in West Africa, funded by UCL Border Crossings and the Irish Arts Council.
Senior Lecturer and joint course leader in BA Filmmaking, Lucy Parker's 'Blacklisted' documentary project (work in progress) tells the story of the construction industry blacklist, which operated in secret over many years to systematically deny work to thousands of workers involved in trade union activity. Unable to find work and without understanding why, the blacklist had detrimental effects on their lives created paranoia, isolation and poverty, as well as health and safety risks on construction sites, as effective reps were excluded. The film, supported by significant finance from Arts Council and made with trade union support, examines the construction industry blacklist, bringing it to the public attention, acting as a cautionary tale for employees of all industries. It demonstrates that we cannot expect employers to act in our best interests or for justice to prevail, and urges us to work together to protect our rights.
Ingrid Pollard's work uses portrait photography and traditional landscape to explore social constructs such as Britishness, representation, cultural tensions and difference and her photographic series such as Pastoral Interlude (1988) and Self Evident (1995) depict black figures in rural landscape settings. From 2005 - 2007 Ingrid curated Tradewinds - an international residency exhibition and project staged at the Museum of London (Docklands). Ingrid has exhibited her work at the Haywood Gallery and the Victoria & Albert Museum
Ingrid was a founding member of the Association of Black Photographers (Autograph ABP) and was a significant collaborator in Polareyes and D-Max. Ingrid teachers photography on the BA (Hons) Photography course at Kingston School of Art.
JUDY PRICE (Dr)
Judy Price is a London based artist who across photography, moving image, sound and installation. A focus of her research is how art can produce different ways of thinking about contested landscapes and sites of geopolitical struggle, and make visible multiple layers of representation, economy, history and subjectivity. Her research draws on images and sounds from archival sources as well as the sustained study of places that are resonant with overwritten histories and redrawn boundaries with a particular emphasis on collective struggles. Palestine has been an enduring focus of her research from 2005-2014. Building on her previous research on colonialism and resource exploitation in Palestine (which was also the subject of her PhD entitled White Oil, excavations and the disappearance of the West Bank – awarded 2014) she is currently working on three new research projects mapping contested Landscapes.
Senior Lecturer and joint course leader in BA filmmaking, Richard Squires practice encompasses films, animations, performance, comics and published articles, purposefully re-presenting problematic cultural, social or political histories. Alluding to the social, poetic or transgressive, his works frequently use provocation as a strategy. These provocations have been used to consider ideas about cartoon representation, animation, masculinity, language, stereotyping, postcolonialism, hysteria, scientific representations and the body. His work was successfully framed within the previous Kingston University REF submission.
Julian Rodriguez is an Associate Professor and Head of Department for Filmmaking & Photography. He graduated in photography, film and television from the London College of Printing (LCP) and holds an MA in History of Design. In 2004 he co-founded the Research Centre in Photography and the Archive (PARC) at University of the Arts London (UAL's first research centre) and in 2007, he was instrumental in bringing the Stanley Kubrick Archive, 1000 boxes of film production materials, to University of the Arts. He has written extensively on photography for the British Journal of Photography and Photographic District News (PDN) Magazine New York and is currently researching: Photography of Soho (1905 onwards) for an exhibition at The Photographers' Gallery London. He was formally Chair of Photoworks (Brighton) and is currently a Company Director at Impressions Gallery (Bradford). Additional current responsibilities include - nominator for the Prix Pictet (global sustainability prize) and Advisory Board Member for the Rory Peck Trust - the only organisation in the world dedicated to the support, safety and welfare of freelance newsgatherers.
Professor Ken McMullen is an award-winning experimental film maker and artist based in London. He has written and directed over thirty documentary films and eight feature films: Resistance (1976), Ghost Dance (1983), Zina (1985), Partition (1987), 1871 (1990), Seven Sighs (1995), Organisation of Dreams (2009) and OXI (2013). McMullen's films are grounded in philosophy, history, psychoanalysis and literature and have been screened world-wide.
Trained as a fine artist, he continues to practice as a visual artist engaged in interdisciplinary practice which has involved collaboration with physicists in CERN and SLAC, and with leading contemporary philosophers such as Jacques Derrida. His research has been funded by the Arts Council, England; British Council; Cascais Centre Cultural, Portugal; CERN, Cine Gloria, Lisbon, Portugal; Cinemateque Francaise; European Cultural Fund; Fundação Dom Luís I, Portugal; Greek National Film Archive, SLAC, California, and PPARC (The Particle Physics and Astronomy Research Council).
McMullen's work is in the collections of MOMA New York; Metropolitan Museum New York; BFI London; Centre Pompidou Paris; British Council; Arts Council England; Arts Council Scotland; Gulbenkian Foundation; Cinemateque Francais; GNFA Athens and BBC/ARTE/C4.
PHILLIP WARNELL - VISIBLE INSTITUTE DIRECTOR
Associate Professor in film, Phillip Warnell is an internationally renowned filmmaker and researcher, working at the intersection of a range of disciplines: film, art, photography, writing, philosophy and human-animal studies. His recent films and research projects have been financed by The Wellcome Trust, Leverhulme Trust, Arts Council England (ACE) and international co-production partnerships in France, Belgium and the USA. He has been collaborating with leading philosopher Jean-Luc Nancy since 2007. His award winning 2014 film ‘Ming of Harlem’ is an exemplar of screen-experimentation on human-animal investigations and collaborative form, in distribution through Soda Pictures in the UK. Phillip recently organised an ICA symposium and KSA launch event in March 2017, ‘Wild Minds’ with input by an international set of artists, filmmakers, philosophers and academics. Filipa Ramos' text on the film:
His writings to date on cinema, animality and philosophy have been distributed in a range of publications, including 'Fearful Symmetry', film & ethics materialities in art & moving image (pending, 2018, Bloomsbury academic press, New York); an essay in a compendium on filmmaker Walerian Borowczyk ('The Beast with two backs', L'Ile d'Amour - Berghahn, 2015), a chapter interview in Zoo & Screen Media: Images of Exhibition and Encounter ('The Wild Inside', Palgrave 2016) and a book chapter on his ongoing collaborations (films, texts and photo works) with philosopher Jean-Luc Nancy ('Writing in the place of the animal', Jean-Luc Nancy and Visual Culture - Edinburgh University Press, 2015).
Phillip Warnell is currently on a Radcliffe/Film Studies Centre fellowship at Harvard University, USA.
Abbe Fletcher is Course Leader for MA film making and has a background in documentary and experimental filmmaking, with films exhibited at the British Film Institute, Cine Pobre Film Festival (Cuba), Five Years Gallery, Diversions Experimental Film Festival, Lux Open, Fulham Palace Gallery and Toyota Municipal Museum of Art. Abbe graduated from the Royal College of Art (RCA) where her practice-based research degree centred on the significance of the interval between frames and shots for editing on digital video. Her current research interests include documentary and collective filmmaking, and the impact of family life on the creative process. Abbe is a founder member of w.in.c (Women's Independent Collective Films). Abbe is the Postgraduate Research Coordinator for Kingston School of Art's Department of Film & Photography.
SHANE O'SULLIVAN (Dr)
Shane O'Sullivan is a filmmaker and Course Leader for BA (Hons) Film. Shane has produced three feature documentaries which explore contemporary political history which have been broadcast worldwide: Killing Oswald, RFK Must Die and Children of the Revolution, the latter was released in thirty cinemas across Japan in 2014. Shane has distributed six documentaries through his own production company/DVD label E2 Films. His first video essay Anatomy of a Murder - Sirhan Sirhan and Robert Kennedy was shortlisted for Best Research Film of the Year in the Arts and Humanities Research Council (AHRC) Film Awards (2016). Shane has been working in partnership with the British Film Institute (BFI) on a successful pilot scheme which allows student filmmakers access to BFI archive material for course-related filmmaking projects.
Sean’s photographic work is primarily concerned with edgelands, ecology and our psychological responses to landscape. The work teases out narratives and builds stories which allude to historical and current uses of ‘charged’ areas – road crash sites, dogging sites, verges, airports – spaces that draws out unusual behaviours, landscapes that lends themselves to a kind of thought, areas which have their own ghosts – spaces where anything could happen.
Sean Wyatt is a graduate of Kingston School of Art (MA Photography) and is a Lecturer in Photography and Senior Technician (Photography) at Kingston School of Art.