I am an artist and writer. My recent practice involves performance, film, dance, photography and text, and my work has been performed, exhibited and published in many venues in Europe and the US. I have spoken at numerous conferences and events, including the Museum for the Fashion Institute of Technology in New York, the Medical Museum in Copenhagen, College Arts Association and the Association for the Psychoanalysis of Culture and Society. When I am not following Freud, Lacan and Marx’s footsteps with my camera or creating performance works as part of my Athenaeum Research Fellowship at the Royal Conservatoire of Scotland, I teach postgraduate students at Transart Institute.
I am a contemporary dancer and work with Dance House Community Company and Glasgow Community Dance Theatre, with whom I have danced for Go Dance 2011 (Theatre Royal, Glasgow), the Commonwealth Games Flag Handover Ceremony (George Square, Glasgow, 14 October 2010) and the Merchant City Festival (2011, 2012). I have worked with many renowned choreographers and companies (Including Michael Clark, Natasha Gilmore and Janice Parker). I volunteer for Dance House. I am a contact improvisation facilitator, and was the co-director of @TheGlasgowJam from 2015 to 2018, together with Penny Chivas.
I have been practicing Ashtanga yoga since 2013 and I am a teacher of this form. I have been taught by Rosina Bonsu, Kia Naddermier, Radha Warrell and Pierre Seghir, John Scott and Rose Ann McKean. Ashtanga shows me discipline, compassion, patience, and letting go. I am a keen reader and, with Ian Macbeth, I founded the Dialectical Materialist Book Group.
I am currently immersed in an interdisciplinary project exploring knowledge and the body of the hysteric. In 2013, together with Child and Adolescent Mental Health practitioner Frances Davies, I co-edited the book ‘Madness, Women and the Power of Art’, to which I contributed a work authored with Eleanor Bowen. My book ‘Make Me Yours: How Art Seduces’ was published by Cambridge Scholars in 2016. In this text, I investigate psychoanalytic approaches to making and understanding objects of seduction, including an examination of parallels between artistic and analytic practices, a study of Manolo Blahnik’s shoes as objects of desire, a disturbing encounter with Marcel Duchamp’s last work, and the creation of a psychoanalytically inspired Discourse of the Artefact, a framework enabling the circulation of questions and answers through a relational approach to artworks.
2017–Present: Athenaeum Research Fellow at the Royal Conservatoire of Scotland.
2017-Present: Freelance Ashtanga Yoga and Pranayama teacher.
2016: Reader in Contemporary Art and Performance Practice by the University of Glasgow.
2015–2018: Co-director (together with Penny Chivas), @TheGlasgowJam, an organisation providing a creative space to explore multidisciplinary arts.
2005–2017: Academic Coordinator (PGR), The Glasgow School of Art. Read about my job in the 2010-2011 GSA Postgraduate Prospectus (pp. 38–39. PDF 510KB) and Flow Magazine, Issue 11, Autumn/Winter 2007 (p. 5. PDF 919KB).
2010–present: Summer faculty member, advisor and supervisor, MFA and PhD residency program. Transart Institute.
2009–2015: Course tutor, ‘Analysis and Self-Analysis’ and ‘Psychoanalysis in Art and Culture’ postgraduate electives (30 week course), The Glasgow School of Art.
2010-2012: Associate Lecturer, MRes Arts Practice, Chelsea College of Art.
2002–2005: Student Adviser, Postgraduate Students, University of the Arts London.
2001–2005: Research Degrees Coordinator, Wimbledon School of Art.
1999-2000: Researcher, Arts about Manchester.
1998–1999:Education Programme Officer, Guggenheim Bilbao Museum.
PhD supervision and examination
As Director of Studies / Principal Supervisor:
— Margaret Hart, Collage in the Posthuman Era: Gender and Becoming (Transart Institute, October 2015 – October 2018).
— Flavia Domingues D’Avila, Syncretic theatre and its use in devising (Royal Conservatoire of Scotland).
— Inês Bento Coelho, Choreographing Spaces: thinking space through choreography in installation-based works (Glasgow School of Art, September 2014 – June 2018).
— Sonia Allori, Aspects of specialised training for Deaf performers at RCS (Royal Conservatoire of Scotland).
– Deborah Norris, Cathy Marston–A Female Author of Narrative Ballet (Royal Conservatoire of Scotland)
— Christopher Danowski, The Medium and the Message: Afro-Cuban Trance and Western Theatrical Performance (Transart Institute, January 2013 – September 2016).
— Emma Balkind, Estovers: Practice based research on the concept of the commons within contemporary art(Glasgow School of Art, September 2012 – September 2015).
— Mitch Miller, The mytho-geographical line, the time map and the tactical drawing: A Practice-led inquiry into the Dialectogram (Glasgow School of Art, September 2011 – September 2015).
— Cara Broadley, Visualising human‐centred design relationships: a toolkit for participation (Glasgow School of Art, September 2010 – September 2013).
— Myria Christophini, Animating Peace: A Practice-Led Inquiry into the potential of Animation to act as a tool for peace-building (Glasgow School of Art, January 2009 – March 2013).
I have chaired 4 PhD examinations at The Glasgow School of Art (Patricia Cain, Lynn-Sayers McHattie, Chantelle Niblock and Lilia Gómez) and externally examined one PhD at the University of Salford, School of Music, Media and Performance (Mohammad Dawood, Dynamic Narratives: Re-Imagining Animated Films on the Internet).
2005–2010: Degree of Doctor of Philosophy (PhD), Cultural Communication and Computing Research Institute (C3RI), Art and Design Research Centre, Sheffield Hallam University – Title: Make me yours: the psychodynamics of seduction through works of art. Supervisory team: Dr Sharon Kivland, Professor Tom Fisher, Professor Steve Dutton. Examiners: Professor Jane Rendell (Bartlett School of Architecture, UCL), Dr Peter Jones (SHU)
2004–2005: Postgraduate Certificate in Learning and Teaching in Art, Design and Communication,Centre for Learning and Teaching in Art and Design.
2000–2001: Master of Fine Art: Drawing, Wimbledon School of Art. Read my dissertation on Precarious Art.
1995–2000: Licenciada en Bellas Artes (BA (Hons) Fine Art equivalent), Universidad del Pais Vasco, Spain.
2016–2017: Classical Yoga School, 200RYS Teacher Training programme, accredited by Yoga Alliance.
2017: In-Depth Development Training, Kia Naddermier, Mysore Yoga Paris, 60hrs.
2015: New Jammers 2015 programme, with Penny Chivas and Tom Pritchard, funded by Creative Scotland. Read Penny’s article about the programme in Contact Quarterly, Summer/Fall 2015 Vol. 40.2. Read Article 19’s feature on the programme. Read a summary after our completion in Contact Quarterly, Winter/Spring 2016 Vol. 41.1.
2012: Standing Stones Professional Development intensive week with Tom Pritchard, supported by Creative Scotland, Conflux and Dance House.
2002–2003: Supervising Research Degrees in Art, Design and Communication (SEDA accredited), Centre for Learning and Teaching in Art and Design.
Exhibitions and performances
2018: Os Voy a Contar mi Vida [I’m Going To Tell You About My Life] by Esther Ferrer, as part of Glasgow International Festival of Visual Art, The Pearce Institute, 22.04.18.
———: I gladly strained my eyes to follow you, by Shauna McMullan, in Cabinet Interventions, group exhibition and performances as part of Glasgow International Festival of Visual Art, Pollok House, 20.04-07.05.18
2017: Body Building [group exhibition], Market Gallery 10.11.17
———: ‘Jam’, an exhibition of works by Dominic Snyder [curator], Glad Cafe, Glasgow, 05-29.10.17
2016: ‘Walking:holding’, devised by Rosana Cade. Forest Fringe, Edinburgh, 17–20.08.16. Read Rosana’s piece in The Guardian here. Read Lyn Gardner’s review of the Forest Fringe here. Read Billy Barrett’s review here. Read Ian Abbott’s review here.
———: ‘The End’, choreographed by Jack Webb, Tramway, Glasgow, 10-11.06.16
———:’Ida’, Buzzcut, Pearce Institute, Glasgow, 6-10.04.16
2015: ‘Don’t Say Anything’, Hysteria #6 Eruption, Hackney Attic, 28.08.15.
———:’What do you want from me?‘, performative lecture, UNFIX Festival of Performance and Ecology, 12.07.15.
———: ‘It was Spring when I was in Athens’, performance with Jetties (Birthe Jørgensen and Madeleine Campbell) as part of Birthe Jørgensen’s solo exhibition Riotous Exuberant Green and the Dutiful Beating of One’s Heart, 1 Royal Terrace, Glasgow, 22.06.15
———: ‘This house has been far out at sea’, group exhibition, Glasgow Open House Festival, Laurieston Arches, Glasgow, 02-04.05.2015
———: Alternative Maternals [Curator], artists: Deborah Dudley (USA), Linda Duvall (Canada), Jeca Rodriguez Colón (Puerto Rico), Miriam Schaer (USA), Valerie Walkerdine (UK), 01–08.06.15, London South Bank University, London, as part of Motherhood and Creative Practice conference, with Bracha Ettinger, Mary Kelly and Faith Wilding as keynote speakers.
———: Dark Days, a socially engaged artwork by Ellie Harrison, Gallery of Modern Art, Glasgow, 13.02.15
———: March of Women, a participatory work by Anna Birch, Glasgow Women’s Library, 07.03.15
2014: Alternative Maternals [Curator], artists: Deborah Dudley (USA), Linda Duvall (Canada), Jeca Rodriguez Colón (Puerto Rico), Miriam Schaer (USA), Valerie Walkerdine (UK), 03–09 August 2014, Lindner Project Space, Berlin. Read PDF [1MB].
———: The River, choreographed by Natasha Gilmore and performed with the Barrowland Ballet, The Briggait, Glasgow, 20 and 21 July 2014.
———: SisGo, choreographed by Fleur Darkin and performed with Scottish Dance Theatre, Tramway, Glasgow, 9 and 10 May 2014.
———: Reading hysteria between laughter and crying, performance as part of the Acts Re-Acts festival, Wimbledon Space, London, 19 March 2014. Read a review.
———: Glory, Choreographed by Janice Parker. Performed at Tramway, Glasgow, 5–10 March 2014.
2013: The Unreliable Reader, performance as part of ‘Reading as Art: turning the Pages of Psychology‘, Bloomsbury Festival, Senate House Library, London, 15 October 2013. Download Programme [1.3MB]
———: Standing Stones, development opportunity and performance with Tom Pritchard and Victoria Evans. The Briggait, Glasgow. 21 June 2013.
———: A Conversation with Carmel, Barrowland Ballet, Tramway, Glasgow, 05.06.13
———: Hysteria Clinic, choreographed by Gypsy Charms, Grand Ole Opry, Glasgow, 24.03.13
———: Girlfriend, choreographed by Ruth Mills, Centre for Contemporary Arts, Glasgow, 19.01.13
2011: A Summer’s Day, choreographed by Tom Pritchard, and Magritte Inspired, choreographed by Jane Simpson, Merchant City Festival, 24.07.11
———: ‘Interview with an Artist’, interview performance by Kristian Al Droubi, from Via Negativa, 15 March 2011, Centre for Contemporary Arts, Glasgow.
———: Bealtainne, The Glue Factory, Glasgow, 30 April–14 May 2011
———: Carnival of the Animals, choreographed by Ruth Mills, Go Dance 2011, Theatre Royal, Glasgow, 27.01.11
2010: As We Speak, Experimental Film screening event as part of 2010 Glasgow International Festival of Visual Art, Stereo, Glasgow, 28 April 2010.
———: Half-knowledge/half…. Grace and Clark Fyfe Gallery, Glasgow, 12-28 April 2010.
———: Dancer in Emeli Sande’s 2010 tour film backdrop, Directed by Ian Robertson, Cut! Film making.
2008: A Case of Seduction. End Gallery, Sheffield, 19–25 May 2008.
2004: Staff show, The Gallery, Wimbledon School of Art, London, UK
2003: Art in Heaven, St Mary’s Church, Brighton and Hove, UK
———: To all the lovers and sweethearts we will never meet, House Gallery, London, UK
2001: Mission, Wimbledon School of Art, London, UK.
———: The Invisible City, Wimbledon Library Gallery, London, UK
———: Ausentes 2001, Sala Baracaldo, Spain.
2000: Atopia, performance exhibition, Sheffield Subway, UK.
———: Ausentes 2000, Sala Araba, Vitoria, touring to Baracaldo and Castro, Spain.
———: Café Tangente, Boulevard, Miranda de Ebro, Spain.
1999: Inter-national, FBAUP, Porto, Portugal.
1998: Encuentros, solo show, Mina Espazio, Bilbao, Spain.
———: Little Works, Abanto-Ciervana, Spain.
———: Primero de Mayo, Boulevard, Bilbao, Spain.
———: Group show ’98. La Bolsa, Bilbao, Spain.
1997: Encerrona, Mina Espazio, Bilbao, Spain.
———: Group show ’97, La Bolsa, Bilbao, Spain.
2016: Make Me Yours: How Art Seduces, Newcastle upon Tyne: Cambridge Scholars Publishing.
2013: Madness, Women and the Power of Art, edited by Frances Davies and Laura Gonzalez, Oxford, Inter-Disciplinary Press, 2013.
2018: ‘Crossing the Cyprus Divide Armed with Pen and Paper’, with Dr Myria Christophini (main author). In M. Parrish & R. Richardson (Eds) Peace as a global language: Explorations of peace in practice: Selected Papers, Kobe: Peace as a Global Language, pp. 289-359
2017: ‘Reading as Creative Practice’. In The Adapt-r Creativity Book, Brussels: KU Leuven, pp. 169–177.
2016: ‘Seduction in Works of Art’. In Seduction in Popular Culture, Psychology, and Philosophy, ed by Constantino Pereira Martins, Fabrizio Macagno, Manuel José Damásio, Hershey, PA: IGI Global. Table of contents available here.
———: Eleanor Bowen and Laura González, ‘The Hysteric as Mad: Unfolding an Exquisite Corpse’, in Beyond these Walls: Confronting Madness in Society, Literature and Art [ebook], edited by Helen Goodman, Bernadette V. Russo and Joana Zózimo, Oxford, Inter-Disciplinary Press, 2013.
Laura Bissell, Mona Bozdog, Laura Gonzalez and Aby Watson, eds. Scottish Journal of Performance Special Issue Art of Care, Vol.5, Issue 1, 2018.
Laura Bissell, Mona Bozdog, Laura Gonzalez and Aby Watson, Editorial, Scottish Journal of Performance Special Issue Art of Care, Vol.5, Issue 1, 2018, pp. 5-11.
Laura Bissell, Laura Gonzalez, Dee Heddon and Simon Murray, Afterword: Acts of Care Scottish Journal of Performance Special Issue Art of Care, Vol.5, Issue 1, 2018, pp. 179-184.
2014: Cover of ELSE journal (Untitled, composite image created with Christopher Danowski), inaugural issue 0, April 2014.
———: B (page as dance stage), printed work in Crux Desperationis, issue 5 (PDF 3.7MB), Montevideo, January 2014, p. 12.
2012: Provocatrice II, printed work in The Brooklyn Review 29th issue.
Papers and articles
2015: Body Anxiety: Woman As Bearer Of The Look, Furtherfield, 24.03.15
2014: ‘Trance art and other possessions’, co-authored with Christopher Danowski, ELSE Journal, Issue 0, October 2014, pp. 140–147.
——. ‘Other Mothers’, curatorial statement for the exhibition Alternative Maternals, artists: Deborah Dudley (USA), Linda Duvall (Canada), Jeca Rodriguez Colón (Puerto Rico), Miriam Schaer (USA), Valerie Walkerdine (UK), 03–09 August 2014, Lindner Project Space, Berlin. Read PDF (1MB).
2013: ‘Trance art and other possessions’, co-authored with Christopher Danowski, Trans-What? conference proceedings, 28 July 2013. Part of the Transartfest Art Biennial, 27 July–9 August 2013, Berlin.
2011: What’s the First Thing You Ever Made, Laura Gonzalez? The Project Room Off Paper. Read it here.
2010: Kissing Exposed to the Gaze. New Associations, issue 3, summer 2010, p. 15. Read PDF (1.7MB).
———: Cities that fold in on themselves. In Persico, G. curator (2010) Urban Origami. Exhibition catalogue. PM Gallery & House, 1 July – 29 August 2010. London: Arttra, pp. 8-9. Read PDF (70KB).
———: Stranger, Seducer. In Conference Proceedings from Transmission: Hospitality. 1-3 July 2010, Sheffield Hallam University.
2007: The line, the look and the gaze. In Persico, G. curator (2007) Isobar. Exhibition catalogue. Fieldgate Gallery, 20 October – 11 November. London: Arttra. pp. 18-21. Read PDF (696KB).
2005: A Biennial in Venice, in ‘The Mind’s Construction Quarterly’. Read PDF (130KB).
———: White worship: the iPod, in ‘Arttra’. Read PDF (99KB).
———: The Edge of Emptiness; an essay on Thomas Joshua Cooper, in ‘Arttra’. Read PDF (100KB).
2003: Skin Against Stone:Julio Medem in London, in ‘The Mind’s Construction Quarterly’ . Read PDF (53KB).
———: National Pride: the 50th Venice Biennale, in ‘The Mind’s Construction Quarterly’ . Read PDF (58KB).
2002: Parchu (to Honour), in ‘Metamorphosis’, an exhibition of works by Jude James and Evi Chamouratidou, PINAKOQHKH MARGARH. Read PDF (438KB).
2017: ‘Mind the gap!: Working papers on practice-based doctoral research in the creative arts and media’, Visual Studies, DOI: http://dx.doi.org/10.1080/1472586X.2017.1320126
2009: We take pictures, therefore we are. A review of Mike Robinson and David Picard’s The Framed World: Tourism, Tourists and Photography. Times Higher Education, No. 1,923, 19-25 November 2009, p. 50. Download PDF (488KB).
2006: Expedition. A journey around the west coast in search of tropical Scotland by Melanie Carvalho. Art & Research, Volume 1. No. 1. Winter 2006/07. Read PDF (117KB).
2018: ‘Looking West, Looking East’, Viewing Pleasure and Being a Showgirl, How Do I Look? symposium, as part of Alison J. Carr’s book launch, University of Huddersfield, 19.06.18.
2017: ‘Embodying hysteria as caring for the self’, (e)motion, Cultural Literacy in Europe second biennial conference, Warsaw, 10-12.05.17
———:’Take Care of Yourself’, provocation as part of ‘The Art of Care-full Practice’ symposium, organised by Dee Heddon, Simon Murray, Laura Bissell and Laura González. Take Me Somewhere festival of Performance, Glasgow 05.03.17
2016: ‘What does Hysteria want from me?, 33rd PsyArt International Conference on Psychology and the Arts, Université de Reims Champagne-Ardenne, 29.06–04.07.16
2015: ‘The Object as Witness’ (co-written with Dr Eleanor Bowen), Material Culture in Action: Practices of making, collecting and re-enacting art and design, The Glasgow School of Art, 07–08 September 2015.
———:‘Mothers, Daughters and Cryptophores’ (co-written with Dr Eleanor Bowen), Motherhood and Creative Practice, London South Bank University, 01–02 June 2015.
2014: Chair of the open session ‘Just what is it that makes studio PhDs so different, so appealing?’, College Arts Association, 12 – 15 February 2014, Chicago.
2012: The hysteric as mad: unfolding an exquisite corpse, co-authored with Eleanor Bowen. 5th Global Conference: Making Sense of Madness, Thursday 30th August 2012 – Saturday 1st September 2012, Mansfield College, Oxford, United Kingdom. Read paper.
2011: The material sensuousness of a hysteric’s performance. Sensuous Object, 29–30 September 2011, Medical Museion, Copenhagen.
2010: Seduction captured. The Social Life Of Methods, ESRC Centre for Research on Socio-Cultural Change, 6th Annual Conference, 31 August-3 September 2010, St Hugh’s College Oxford.
———: Stranger, Seducer. Transmission: Hospitality. 1-3 July 2010, Sheffield Hallam University. Download the paper from the conference proceedings.
———: Make me yours: studying the psychodynamics of seduction through works of art. Psychoanalysis, Culture and Society, Middlesex University, 5th June 2010.
2009: European Forum of Research Degrees in Art and Design (EUFRAD), Glasgow, 4-6 September 2009.
2008: What the artwork wants: thoughts for, against and around interpretation in art and psychoanalysis. Co-written with Sharon Kivland. Research into Practice 2008: the Problem of Interpretation. Royal Society of Arts, London, 31 October 2008. Read paper.
———: Reflections on seduction. Architexture: Exploring textual and architectural spaces. University of Strathclyde, 15-17 April 2008. Read abstract.
2007: Mothers, daughters and cryptophores. Conference contribution: A return to Almodóvar: Roundtable discussion of his most recent film. Association for the Psychoanalysis of Culture and Society 2007 Annual Conference – Hope for Hard Times: Anxiety, Alienation and Activism, Rutgers University, 2-4 November 2007. Read Précis.
———: When Freud Visited the Acropolis, Introduction presentation to the ‘Psychoanalysis in Doctoral Research’ panel, Rigorous Holes: Perspectives on Psychoanalytic Theory in Art and Performance Research, Chelsea College of Art, 29-30 May 2007. Watch my presentation.
———: Juicy Salif as a cultish totem. The Discipline of Creativity: Exploring the Paradox, Session: ‘Ars longa’: establishing value. Institute for Capitalising on Creativity, RSAMD, 2 May 2007. Read abstract.
———: Why the PhD studio? Co-written with Dr Naren Barfield. College Art Association, 95th Annual Conference, New York, 14-17 February 2007. Read abstract.
2006: Created to lead astray: Baudrillard’s seduction in contemporary artefacts. Engaging Baudrillard, Swansea University, 4-6 September 2006.
2017: Wozu Image? [workshop delivered with Madeleine Campbell] (e)motion, Cultural Literacy in Europe second biennial conference, Warsaw, 10-12.05.17
2016: ‘How Art Seduces’, Köln International School of Design, Germany, 29 November 2016.
2015: ‘Mother’ [performative lecture], Family Ties Network ‘Subject Missing’, The Glasgow School of Art, 20 November 2015.
——. ‘The Practice of Writing’, Edinburgh College of Art, 18 November 2015.
——. ‘Psychodynamics, Seduction and Works of Art’, Glasgow University Research Lectures, 29 April 2015
——. Keynote ‘I know what you think but how do you feel’, Into the New symposium, The Arches, Glasgow, 12 January 2015.
2014: Between laughter and crying, Research Showcase, The Glasgow School of Art, 04 December 2014
——. Hysteria’s Entropy. The Glasgow School of Art, 28 October 2014
——. Between laughter and crying, Royal Conservatoire of Scotland, 20 October 2014
2013: Psychoanalysis and Art.From Death to Death and Other Small Tales by Night. Scottish National Gallery of Modern Art. 05 July 2013.
———: Hysterical Architecture. Gareth Hoskins Architects, Glasgow. 13 June 2013.
———: The body of the hysteric. ‘The Mortal Coil’ lecture series, part of Ruth Mills Contemporary Dance Winter Intensive. 03 January 2013.
2012: A hysterico-pervert’s guide to dance. ‘The Pervert’s Guide to Dance’ Lecture series, part of Ruth Mills Contemporary Dance Winter Intensive. 07 January 2012.
2011: Consumption, Seduction, Perversion. Sheffield Hallam University Art and Materiality lectures. 01 December 2011.
———: Make Me Yours. Royal Scottish Academy of Music and Drama. 07 February 2011.
2009: Perversion within seduction. Interviewed by MFIT curator Colleen Hill. Fashion Culture Special Educational Programs. Museum at FIT, New York. 18 February 2009.
2008: Practice in my PhD. Practice in a PhD: a Workshop for Supervisors. Nottingham Trent University. 25 September 2008.
———: That Obscure Object of Research. Royal Scottish Academy of Music and Drama. 24 January 2008.
2005: Position paper (with Dr Malcolm Quinn, Research Coordinator, Wimbledon School of Art). Perspectives in Practice-Based Research, AHRC funded collaborative doctoral training project, Coventry University, the University of the Arts London, University of Hertfordshire, Sheffield Hallam University, Wimbledon School of Art and University of Leeds.
2004: The roll out management of skills training: experiences with different models (with Professor Stephen Flint, Director of Graduate School, University of Liverpool). Third Annual UKGrad conference ‘The future of the UK Doctorate in an International Market’.
———: Issues in practice-led research. Surrey Institute of Art and Design.
2003: The Game of Rule Making, Centre for Learning and Teaching in Art and Design, London.
2002: Language and Beyond, School of Performing Arts, University of Surrey.
Scholarships, grants and awards, including research grants
2016: Research Development Fund, The Glasgow School of Art, for ‘What does Hysteria Want from Me?’.
2015: Research Development Fund, The Glasgow School of Art, for ‘Mothers, Daughters and Cryptophores’.
2014-2015: Research Leave, The Glasgow School of Art, for ‘Make Me Yours: How Art Seduces’.
2013: Research Development Fund, The Glasgow School of Art, for ‘The Unreliable Reader’.
——. AHRC Collaborative Doctoral Award. Application developed and co-authored with Professor Alastair Macdonald (PI) and The Queen Elizabeth National Spinal Injury Unit, Scotland.
2012: Research Development Fund, The Glasgow School of Art, for ‘The Hysteric as Mad’.
2007: The Learning and Teaching Innovation Fund. GSA, Total funding £1,931. Application developed with Dr Nicky Bird.
——. CAA Travel Grant.
2006: AHRC Collaborative Doctoral Training Award. AHRC, Total funding £10k. Application developed with Professor Naren Barfield and Stuart Evans, Central Saint Martins College of Art and Design.
2005: AHRC Collaborative Doctoral Training Award. AHRC, Total funding £10k. Application developed with Dr Malcolm Quinn and Dr Dany Nobus, Brunel University.
———: AHRC Collaborative Doctoral Award. Application developed and co-authored with Hilary Baxter, Dr Robert Perks and Cathy Courtney, National Life Stories, The British Library.
2000: The Basque Region Award for specialised study in a foreign country.
2000: Student exchange award, painting and printmaking, Sheffield Hallam University.
1999: Photography and video scholarship, Faculdade das Belas Artes do Porto, Portugal.
2018: Symposium organiser for ‘Between Strangers’ with Laura Bissell, LJ Findlay-Walsh, Stephen Greer, Simon James Holton, Annie Lowry Thomas and Karl Taylor. Take Me Somewhere festival of Performance, Glasgow 27.05.17.
2017-2018: Co-editor of a special issue of the Scottish Journal of Performance on the Art of Care. See the full issue here.
2017: Symposium organiser for ‘The Art of Care-full Practice’ with Dee Heddon, Simon Murray,and Laura Bissell. Take Me Somewhere festival of Performance, Glasgow 05.03.17.
2016: Peer reviewer for Project Anywhere.
2014–2018: External Examiner, Choice and Collaboration, Royal Conservatoire of Scotland.
2014: Advisor for ELSE journal: International art, literature, theory, creative media.
2013: Evaluator for the Austrian Science Fund (FWF).
2010-present: Member of the AHRC’s Peer Review College.
2010: Editor, Visit Glasgow.
2009: Peer Reviewer, ESRC.
2009: Contributor, The New Escapologist.
2008–2009: Correspondent, Glasgow Vida Urbana, Soitu.es.
2007: Occasional referee, Arts and Humanities in Higher Education.
2007: Occasional referee, Communication and Critical/Cultural Studies.
2007: Editorial Advisor, Studies in Material Thinking .
2006: External Member, Research Degrees Sub-Committee, Royal Scottish Academy of Music and Drama.
2006: External Member (in attendance), Higher Degrees Committee, Faculty of Arts, University of Glasgow.
Membership of professional bodies
2016–present: Member, PsyArt foundation.
2007–present: Member, Association for the Psychoanalysis of Culture and Society (APCS).
2006–present: Member, College Arts Association (CAA).
2005–present: Registered Practitioner, Fellow of the Higher Education Academy (FHEA).