Lecturer; BA Art and Design Programme Leader
0113 343 6922
Clothworkers' Building Central, Room G 78d
D.N.S.E.P. (Montpellier, France), PhD. Leeds.
Dr Thoma’s research interests are concerned with notions of place, identity and dwelling in a contemporary art context. She examines through painting, photography and video how the everyday allows for philosophical considerations regarding our being in the world. She is particularly interested in the juxtaposition of diverse media to reflect on aspects of image making. The phenomenological aspect of perception and its partaking in the cognitive process are a main driving force in the collation of visual material.
Over the past two decades she has exhibited widely in the UK, Europe and the United States. Exhibitions include ‘Endlosschleife 2041’ at Württembergischer Kunstverein Stuttgart (2014), ‘Thought Dwellings: In Situ’ at Lifton Place, Leeds (2013), ‘Curious’ at West Norwood Cemetery, London (2013), ‘Dialogue in Place: Volume II’ at Form and Content Gallery Minneapolis (2012), Group Exhibition project ‘European Identities – intercultural dialogue of women artists in Europe’, various exhibition venues in Germany, Italy and Spain (2010-11). ‘Provenienzen des Lichts’ at Inselgalerie Berlin (2007), ‘So near so far/ So nahe so fern’ at APT Gallery London (2008) and the Kunstverein Ebersberg, Germany (2007), ‘Land2 beyond landscape?’ at the RWA in Bristol (2005), ‘That which is near/ Das was nahe ist’ at the Representation of Baden-Württemberg at the EU in Bruxelles and at Only Atelier, Vienna (2004) and ‘Skylight Stillnight’ at Jack Olson Gallery, Northern Illinois University (2004).
|Level 2Level3||Studio Practice 2A (module leader)
Studio Practice 2B Studio Practice 3A Studio Practice 3B (module leader)Time and the Image in Contemporary Art (optional)
Programme Manager Art and Design
(2016) Blau. Leeds: Wild Pansy Press.
(2009) Twi_Light. Brno, Czech Republic: Center for Experimental Theatre.
(2007) Lichtlinien Lines of Light. Berliner Fraueninitiative Xanthippe e.V., Berlin.
(2005) That which is near Das was nahe ist. PRESS Public Relations Exclusive Schlick, Stuttgart.
(2003) Skylight Stillnight. Dean Clough Galleries in association with Northern Illinois University.
(2000) Dialogue in Place. Bretton Hall College of the University of Leeds in association with the University of Minnesota.
(2016) “'Blau' – Longing and the Repetitions of (Deleuzian) Becoming”, International Journal of the Image. 8.1: 39-49.
Repository URL: http://eprints.whiterose.ac.uk/101307/
(2015) “Discussing the Relationship between Sound and Image: The Scope of Audio/Visual Strategies in a Contemporary Art Context”, The International Journal of New Media, Technology and the Arts. 10.3: 17-28.
Repository URL: http://eprints.whiterose.ac.uk/89186/
(2014) “The (Everyday) Image as One of Many: What Happens in the Interstice?”, International Journal of the Image. 5.1: 1-10.
Repository URL: http://eprints.whiterose.ac.uk/89185/
(2012) “The (woven) lining - invisibility and visibility in a visual and textual exploration of the cinematic in art”, Art South Africa. December 2012. 11.2 December 2012: 46-47.
(2011) “Moving between Images: The Orchestration of Diverse Time-Space Constructs in Fine Art Practice”, The International Journal of the Image. 1.1 (Accepted)
(2009) “The Conundrum of Medium Specificity”, International Journal of the Arts in Society. 4.5: 523-534.
(2006) “The making of 'place' to enable memory”, Journal of Visual Art Practice. 5.1+2: 83-93.
(2015) Discussing the Relationship between Sound and Image.
(2015) Where is the viewer in the impetus of becoming? A response to Jane Bennett’s 'Vibrant Matter'. (Unpublished)
(2014) Ocean: A study of multiplicity. British Waters and Beyond: The cultural significance of the sea since 1800 (Unpublished)
(2013) The Everyday Image as One of Many: What Happens in the Interstice?. 4th International Conference of the Image (Unpublished)
(2012) Journeys around the Home. Symposium Close to home: artists reconsider the local
(2012) The lining - invisibility and visibility in a visual and textual exploration of the cinematic in art. Pointure Colloquium (Unpublished)
(2010) Moving Between Images. International Conference on the Image
(2009) The Conundrum of Medium Specificity: How Can the Engagement with a Postmodern Juxtaposition of Media also Promote Medium Specificity?. International Conference on the Arts in Society
(2004) The making of place to enable memory. Proceedings: 'Art after Landscape': Memory, Place and Identity 'Art after Landscape': Memory, Place and Identity.
European Identities – intercultural dialogue of women artists in Europe.
‘Dialogue in Place II– beyond medium specificity’. (Accepted)
In the Sky.
Zwischen den Bildern/Moving between Images: Painting, Photography and Video. (Submitted)
All over the Place.
Texture of Place. (Accepted)
Close to Home: Artists reconsider the Local.
So near, so far. (Accepted)
Jahresausstellung Kunstverein Ebersberg.
Dialogue in Place.
Provenienzen des Lichts.
LAN2D: Beyond Landscape.
That which is near (version I).
Lan2D: Beyond Landscape 2.
That Which is Near (version II).
PhD & Postdoctoral Supervision
I welcome practice based PhD applications dealing with the following topics:
– Time and Image in Contemporary Art
– Place, Dwelling and the Nomadic
– Abstraction and Minimalism
Thought Dwellings – time and space in painting, photography and video
The practical and theoretical research of this PhD examines the complexities of time-space relations in painting, photography and video. The aim of this study has been to develop a body of work that generates an increased awareness of how the juxtaposition of diverse fine art media can contribute to a differentiated appreciation of the time-space relation. Further objectives were to explore how the dichotomy of absence (of figuration) and presence (of figurative elements) can inform reflections on place relating to Martin Heidegger’s ‘Dasein’ as being-in-the-world and Gilles Deleuze and Félix Guattari’s ‘nomadic’ perception within ‘smooth’ and ‘striated’ space. Drawing from Henri Bergson’s concept of ‘duration as multiplicity’ as an oscillation between presence (actual) and absence (virtual), this study, whilst acknowledging Bergson’s critique of spatializing time, considers opportunities within contemporary fine art practice to develop a spatial configuration involving multiple coexisting durations.
Thought Dwellings, initially the title for a body of paintings and photographs (1998) concerned with place, later (since 2003) also began to incorporate video, thus enabling a triangulation of painting, photography and video to consider movement and stillness across all these categories.
I propose a new terrain where the either/or/and of photography/painting, photography/video or painting/video becomes this as well as that of painting/photography/video allowing — whilst upholding medium-specificity — the physicality of painting to inform the technologies of lens-based media to arrive at a differentiated time-space relation.
These practical concerns are supported by theoretical explorations involving place and dwelling, medium-specificity in a ‘post-medium’ age, minimalism, phenomenology and time-space relations. Within Deleuzian ‘becoming’, as coexistence of difference rather than dialectics of either/or; Jacques Derrida’s différance and Bracha L. Ettinger’s ‘Matrix’ as coming together of ‘I and non-I’ to reflect the feminine — Thought Dwellings involves movement between images, an oscillation between presence and absence proposing an audio/visual spatialization of ‘duration as multiplicity’.