Veronique's cross-disciplinary practice reveals strong interests in the uses of printmaking, photography and moving image as reproductive media, whilst sharing links with sculpture and performance. In recent work she has used the activity of running and technological mediation as a means of bridging human physical exertion with an immediate, lived experience of the outside environment. Within this context notions of liveness, transmission and broadcast have been at the heart of her artwork.
Recent projects include: The Great Orbital Ultra Run, a solitary run and artwork that took place over nine consecutive days around the inside of the M25 and was relayed live from her mobile phone to the Stephen Lawrence Gallery in London. The work was re-configured in 2014 as The M25 in 4,000 Images, an extendible printed bookwork/sculpture and installation produced from digital data into tangible printed form. This was shown at Seacourt, The Centre for Contemporary Printmaking in Bangor, Northern Ireland and at the Sheffield Institute of Arts Gallery in 2014. Véronique is currently involved in the development of the RE:PRINT International Research Project with Mark Graver from the Wharepuke Print Studio in New Zealand, with the aim of promoting international networks in discussion and exchange. This will launch in July 2015 with the Exhibition and Symposium RE:PRINT/ RE:Present at the Ruskin Gallery, Cambridge.
Véronique has extensive experience in teaching and gained her PhD at Goldsmiths College in 2012. She has been Course Leader of the MA Fine Art and MA Printmaking at Anglia Ruskin University, Cambridge since March 2013.
Visit Véronique's website for more information.
This talk will draw on the recent RE:PRINT/RE:Present Exhibition and Symposium that took place at Anglia Ruskin University in July 2015, profiling the work and ideas of the artists who took part in both events.
RE:PRINT/RE:Present was the first of a number of developing projects conceived under the banner RE:PRINT, a research project with the aim of promoting international networks in discussion, exhibition and exchange. Initiated as a launch project following discussions with artists and academics, its concerns centre on inter-medial (or cross platform) approaches to printmaking and the nature of reproduction and reproducibility within current art practice.
Co-curated by Dr. Veronique Chance and British, New Zealand–based artist Mark Graver, artists taking part in the exhibition and symposium were asked to consider the following questions that we felt were particularly pertinent to recent developments in printmaking:
1. Technological developments in print media, moving image, sound and performance, have often led to cross-platform dialogue but how are these relationships RE-Presented when immersed in today’s hyper-mediated status of image, sound, and file reproduction?
2. When almost anyone is capable of uploading, downloading, creating, modifying, copying, sharing and deleting files of every and any digitally convertible medium, how does the current frenzy of data use and re-use, challenge our understanding and expectations of image and media reproduction?
3. What kind of spaces or places are constructed, performed or revealed in the process?
4. What is the impact on the shared vocabulary across these media: between the notion of a print; of screen interaction; of the nature of collage; of sequence and seriality; of the conception of the unique; of the multiple and the edition or indeed of art and artefact?