Originally trained as a civil engineer, Eugenie Shinkle went on to study photography, art history, and critical theory, obtaining her doctorate from the Slade School of Fine Art in 2003. Eugenie’s academic research is interdisciplinary in nature: it includes both visual and scholarly practice, and reflects interests which have developed over a 20-year period. As such, it encompasses a number of different fields that are bound together by a common theoretical and methodological focus. The legacy of Eugenie’s early training as a civil engineer, and of her own practice as a photographer, is a longstanding interest in the haptic and embodied dimensions of our relations with images and image-making technologies. More recently this interest has grown to incorporate ideas drawn from affect theory and cognitive neuroscience, and to explore ways that such approaches can broaden our understanding of our relationships with photographic images. Fashion photography, in particular, is an excellent platform for this line of inquiry, offering exceptional opportunities for examining the complex ways in which the body and the socius are bound together in the perception of images.
Eugenie’s research into landscape photography – while drawing from disciplines such as architectural theory, human geography and political theory – also focuses on ways that the perception of landscape images is shaped and informed by embodied experience. In addition to her more theory-driven work, for the past three years, Eugenie has also been working on a large-scale research project examining the recent (post-1970) history of landscape photography in the UK.
Emerging Landscapes: Between Production and Representation
(editor, with Davide Deriu and Krystallia Kamvasinou) London: Ashgate (forthcoming 2012).
Fashion’s Digital Body: Clothing, Embodiment and Interactivity in New Fashion Media,
in Fashion Media: Interrogating Words and Images. London: Berg Press (forthcoming 2013).
Uneasy bodies: affect, embodied perception, and contemporary fashion photography,
in Carnal Aesthetics: Transgressive Imagery and Feminist Politics. Bettina Papenburg & Marta Zarzycka (eds), London: I.B. Tauris (2012).
Video Games and the Digital Sublime,
in Digital Cultures and the Politics of Emotion: Feelings, Affect and Technological Change. Athina Karatzogianni and Adi Kuntsman, eds. London: Palgrave-MacMillan (2012) [originally published in Tate Papers Issue 14, 2010].
Playing for the camera: Huizinga’s Homo Ludens, technology, and the playful body in fashion photography,
in Images in Time. Æsa Sigurjónsdóttir and Michael A. Langkjær (eds). Wunderkammer Press (2011).
Something in the Air: the Landscape Photography of John Myers,
in John Myers (exhibition catalogue). Birmingham: Ikon Gallery (2011).
Fashion as Photograph: Viewing and Reviewing Images of Fashion
London: I.B. Tauris (2008).
Video Games, Emotion, and the Six Senses,
in Media, Culture and Society Volume 30, No. 6 (November 2008).
THURSDAY 21 JUNE, 6PM – 10PM
FRIDAY 22 – SUNDAY 24 JUNE, 10AM – 7PM
Monday 25 June, 10am – 4pm
T1, OLD TRUMAN BREWERY, 81 BRICK LANE, LONDON E1 6QL
MA Photojournalism alumnus Jason Larkin is now showing at Flowers Gallery
Jason Larkin Past Perfect
Centred around questions of authenticity and the representation of collective histories, Past Perfect (2008 – 2016), is a new series of photographs by British photographer Jason Larkin, highlighting the visual presentation of war and conflict within public museums around the world.