FARU members

Rosanna Greaves, 0.5 Lecturer in Fine Art

Rosanna works in a site-specific context, using place as material, to create intermediary installations using audio, video, text and sculpture. Her research-driven approach leads to the production of multi-layered installations that allow for simultaneity of different narratives and time frames, these being representations unlocked from the place of enquiry in order to reposition or subvert a hidden social or political historic context. The initial exploration of site then acts as a catalyst to develop new autonomous works, which focus on broader research interests such as temporality, environmentalism, language, deconstruction and documentary methodologies.

'No Central Control', Rosanna Greaves
'Nothing But Fluctuating Air' (Outside), Rosanna Greaves
'Nothing But Fluctuating Air', Rosanna Greaves
'VIA' (Video still), Rosanna Greaves
'We Strongly Advise' (video still), Rosanna Greaves
'We Strongly Advise' (video still), Rosanna Greaves

Dr Véronique Chance, Course Leader, MA Fine Art and MA Printmaking

Véronique's art-practice is mainly photography and video based, but also maintains strong links with print, sculpture and performance practices. Her research interests lie in the relationship between the physical presence of the body and its presence as a screen image, through which she examines the impact of visual media technologies on our perceptions of the body as a physical presence. This is closely related to the subject of her PhD, completed at Goldsmith's College, University of London in October 2012.

In recent work she has used mobile camera technologies to transmit and record her eyeviews, whilst performing long distance runs in the outside environment. This work forms part of a larger inquiry regarding the performative nature of human physical activity, which draws on the contexts and trajectories of performance art practice in pushing the body to the limits of physical endurance and uses the performative nature of technology and of the moving image as a means of mediating that experience.

'The M25 in 4000 images', Veronique Chance
'Orbital Run', Veronique Chance
'Running Kit', Veronique Chance
'Running Kit', Veronique Chance

Dr David Ryan, Reader in Fine Art

David's practice incorporates painting, video, music and critical texts. He likes them to be seen as autonomous practices that share commonalities. Notions of abstraction and indeterminacy are central to his practice both in the visual arts and the music. His critical texts explore these issues as dominant subject matter. These texts have historical and theoretical dimensions and provide the context for his multi-faceted practice.

Still from 'Tower - a composition for improvising musicians and architecture', David Ryan, 2012
Still from 'Tower - a composition for improvising musicians and architecture', David Ryan, 2012
ll from 'Tower - a composition for improvising musicians and architecture', David Ryan, 2012
Still from 'Via di San Teodoro 8', David Ryan, 2010-11
Still from 'Via di San Teodoro 8', David Ryan, 2010-11
Still from 'Via di San Teodoro 8', David Ryan, 2010-11

Benet Spencer, Course Leader, BA Hons Fine Art

Benet Spencer’s architectonic paintings evolve out of various stages of production – preparatory drawing and the collection of photographs, the transformation of images into fictitious collaged spaces, and the resulting paintings, which are usually large scale and evolve in multiple layers towards a completed form. Whilst the process and language of painting are a primary research interest, along with its role within contemporary art, digital imaging and the relationship of painting to architectural language and 3D modelling have become increasingly important. His work is split between his position in Cambridge as BA Fine Art course leader, his studio practice, which is based in Tulse Hill, South London, and various international curatorial projects that have developed over recent years.

Modern House 1	, Benet Spencer, Acrylic and oil on canvas, 140 x 180cm, 2010
'Design and Build 1', Benet Spencer, Acrylic and oil on canvas, 140 x 220cm, 2013
Modern House 4, Benet Spencer, Oil on canvas, 160x200cm, 2014
Modern House 7, Benet Spencer, Digital Inkjet print, photocopy, cardboard and pealed acrylic paint, 27.5 x 36cm,	 2014
Benet Spencer, Studio installation shot, Parade Mews, London, 2014
Benet Spencer, ‘Opinion Makers’ installation shot, Londonewcastle Project Space, London, 2014
Benet Spencer, ‘Phase 1’ installation shot, Ruskin Gallery, Cambridge, 2016

Dr Simon Payne, Senior Lecturer in Film and Media

Simon's most recent experimental video work has involved an intense exploration of digital colour fields, graphic forms and digital tone rows, with colour and sound in clashing and complementary combinations. The work that he has made spans single-screen, multi-projector and installation work, and has been shown in various contexts from experimental film festivals through to gallery spaces. The common investigation across these pieces concerns ways in which the viewer engages with colour mixing in three-dimensional space over time, complex time-based structures and the ways in which video fosters illusions of movement and depth. In addition to making video art works, he has also sought to develop and discuss ideas in articles for journals and publications concerning artists' film and video, new media art and animation. Simon is also the editor of the publication Sequence, devoted to artists' film and video and its links with other contemporary arts practices.

'Vice Versa Et Cetera', Simon Payne
'Point Line Plane', Simon Payne
Primary Phases, S Payne

Neil Henderson, Principal Lecturer in Film and Media

Neil's work examines, music, landscape, film and its materiality. His most recent film Tidal Island (2014) explores a circular island on the Lincolnshire coast. Built in the 1970s the island is all that survives of a project to shape the Wash into a fresh water reservoir. The film examines the island through live action and time-lapse filming. Images of deep space, close ups of maps, and electronic sounds re-imagine the island as a work of science fiction. Between 2009 and 2011 he made three short films with the musician Evan Parker. Portrait of Evan Parker (Silver/Gold) is an examination of the free improvisers playing technique viewed from below and within the soprano saxophone. The film is in two pieces, shot in B&W and colour. Light shines through the valves of the instrument, illuminating and making visible the notes we hear.

'Tidal Island', Neil Henderson
'Tidal Island', Neil Henderson
'Portrait of Evan Parker (Gold)', Neil Henderson
'Portrait of Evan Parker (Silver)', Neil Henderson


Jamie George

Jamie's investigation is around memory, loss and what Maurice Blanchot referred to as 'forgetful memory'. His research looks at how constructed objects and structures can become vessels for this kind of saturation in particular in relation to the experiential conditions of their location and site.

His work plays with both familiarity and estrangement, but also examines the contemporary conditions (and problematic) of what we might find locatable as a particular 'englishness' in relation to their physical context, content and situation.

'Two Broken Arms', Jamie George
'The End (Demin Shirt Version)', Jamie George
End/Success or Wonderful Forever. Installation view including works, Untitled (Wall), New Century, Little Flag and The End/Badge (photographs by Ralf Brueck) by Jamie George

Robert Holyhead, 0.4 Lecturer in Fine Art

Robert makes abstract paintings (oil on canvas) in relation to small watercolour studies that initiate possibilities or act as starting points for new works. His work attempts to gather and to clear; gather in the sense of bringing things into view, then clearing through a process of reducing and refining the surface. This method allows each painting to suggest an autonomous centre, ultimately resisting the tradition of compositional outcome (each new work being informed by the previous) and hopefully allowing the activity and language to remain precarious and the surface convincing.

4240, Robert Holyhead
4241, Robert Holyhead
4242, Robert Holyhead
4243, Robert Holyhead
4245, Robert Holyhead
4246, Robert Holyhead
4248, Robert Holyhead

Matthew Darbyshire

Matthew was born in the UK in 1977. He studied Fine Art at the Slade School of Art and at the Royal Academy Schools in London. He has had public exhibitions at Gasworks, London; The Hayward Project Space, London; The Zabludowicz Collection, London; Kettles Yard, Cambridge; Tramway, Glasgow; GAM, Turin; The FRAC, Dunkirk and The Hepworth, Wakefield.

Matthew has exhibited in various major UK survey shows including the ICAs Nought to Sixty programme curated by Mark Slaydon in 2008, Tate Britains Triennial Altermodern, curated by Nicolas Bourriaud in 2009, and the British Art Show 7 Days of the Comet, curated by Tom Morton and Lisa Le Feuvre 2010. He is represented by Herald St Gallery in London and Jousse Enterprise in Paris. This year he will also have his first exhibition with Lisa Cooley Gallery in New York.

Matthew is currently preparing a survey exhibition for Manchester City Art Gallery and in the process of realizing two large-scale public commissions - one for the Dutch government in Amsterdam and the other for Cambridge University here in the UK. He is one of the founder members of Open School East in Dalston, was last year the sculpture teaching fellow at The Slade School of Art in London and this year was invited to be an honorary fellow at Anglia Ruskin University. He lives and works in Rochester, Kent.

'Bureau', Matthew Darbyshire
'Bureau', Matthew Darbyshire
GAM, Turin, Matthew Darbyshire
'Paris captcha', Matthew Darbyshire
'Paris captcha', Matthew Darbyshire
'Renaissance City', Matthew Darbyshire
'Oak Effect', Matthew Darbyshire