A World Drawn: An Introduction to the art of Julian Opie (for a Polish Audience)

Essay in a monograph associated with the exhibition Julian Opie: Sculptures, Paintings, Films at the Museum of Contemporary Art in Krakow, Poland, 18 October 2014 to 25 January 2015. Slyce attempts to re-examine the lineaments of Opie's practice for a new and broader audience. During which, he calls attention in the writing to the processes of its commissioning and early request to do so for a 'Polish audience'. He attempts to bring to light some of these often invisible moves in the commissioning of catalogue essays, while also re-examining Julian Opie's practice in light of its established reception in Britain.

Intimate Ecologies: An exploration of the languages of contemporary exhibitions and making in museums and related cultural spaces in the UK

Intimate Ecologies considers the practice of exhibition-making over the past decade in formal museum and gallery spaces and its relationship to creating a concept of craft in contemporary Britain. Different forms of expression found in traditions of still life painting, film and moving image, poetic text and performance are examined to highlight the complex layers of language at play in exhibitions and within a concept of craft. The thesis presents arguments for understanding the value of embodied material knowledge to aesthetic experience in exhibitions, across a spectrum of human expression. These are supported by reference to exhibition case studies, critical and theoretical works from fields including social anthropology, architecture, art and design history and literary criticism and a range of individual, original works of art. Intimate Ecologies concludes that the museum exhibition, as a creative medium for understanding objects, becomes enriched by close study of material practice, and embodied knowledge that draws on a concept of craft. In turn a concept of craft is refreshed by the makers’ participation in shifting patterns of exhibition-making in cultural spaces that allow the layers of language embedded in complex objects to be experienced from different perspectives. Both art-making and the experience of objects are intimate, and infinitely varied: a vibrant ecology of exhibition-making gives space to this diversity.