Research Output per year
Research Output per year
Alexander James Pollard's research explores the potential of "fictioning" as a methodology, through a practice-based form of inquiry in both the fields of fine art painting and graphic novel arts.
His research and pedagogic methods include the exploration of precognitive painting techniques similar to those taught by Dr Rudolf Steiner (1861-1925). Pollard is an ex-pupil of the Brighton Steiner School, and works across the mediums of painting and graphic novel arts to explore how cross-contamination might be useful in pushing the possibilities of intuitive and/or “precognitive” forms of practice.
In his studio practice, Pollard has created fictional painting movements - “modernisms that have never occurred” (such as Paleo Fauvism – Folkestone 2018). Colliding seemingly disparate themes, such as Fauvism and Russian dinosaur illustration, he produces creative “ruptures” that embrace the genuinely "odd", "weird" and "eccentric" within image making. Playfully, Pollard conjures up “mis-readings” of established narratives that both nuance form and celebrate difference. The mytho-memetic paintings that result, eloquently explore speculative and ghostly residues of the past, yet suggest alternative and hyper-hybridised futures. Although these hybrids look to an unwritten future they also enter a chain of signification within the eternal reoccurrence of archetypal form, activating both myth and the modern day “meme”.
Allied to these approaches, he has also utilised "implied authorship" and "fictioning" through the creation and use of character avatars. Sometimes working in collaboration (with Luke Pendrell), Pollard has created imagined or fictionalised bodies of work by historical figures such as Aleister Crowley and Charles Dawson (creator of the Piltdown Man), among others, which similarly conjure up alternative, occultish, esoteric, and supersensible realities, pasts and futures.
Alexander James Pollard studied BA (Hons) Painting and Drawing at Glasgow School of Art (1996-99). His MPhil titled A Genealogy of Bad Painting – Legacies, Soft Objects and Networks was undertaken at Goldsmiths College, London (2017). He is currently a PhD candidate at Kingston University in London, where he is developing a project titled: The Precognitive Painting Programme: Can the cutting-up, re-arranging and overwriting of existing science-fiction narratives help to fiction new possibilities that examine the role of the self, intuition, improvisation and cross-contamination in the fields of fine art painting and graphic novel arts?
In 2005 Pollard represented Scotland at the Venice Biennale. Other solo exhibitions include: Paleo Fauvism, Hop Projects, Folkestone (2018), Jungle, Celine Gallery, Glasgow (2017), WoW Paintings, Young Team HQ, London (2016), Black Marks, Talbot Rice Gallery, University of Edinburgh (2007). Group exhibitions include Counter Facture at Luhring Augustine, New York in 2007, the Santorini Biennale in 2012 and The Irregular Correct – New Art from Glasgow at the Fremantle Art Centre, Fremantle, Australia (2012). He worked as a lecturer in Fine Art Painting and Printmaking at the Glasgow School of Art (2006-2013) and a Lecturer in Fine Art Painting at Wimbledon College of Arts (UAL) (2013-14). He now works at The University of Brighton (2014 - present), where he is a Senior Lecturer in Fine Art Painting and MA Fine Art.
His work is held in major international private and public collections including:
Arts Council of England
Scottish National Gallery
Gulbenkian Foundation, Lisbon, Portugal
The Government Art Collection
Master, Goldsmiths College, London
1 Sep 2012 → 1 Sep 2017
Award Date: 2 Oct 2017
Bachelor, Glasgow School of Art
1 Sep 1996 → 1 Sep 1999
Award Date: 3 Jun 1999
Research output: Book/Report › Book - authored
Research output: Non-textual output › Exhibition
Alexander Pollard (Presenter)
Activity: External talk or presentation › Invited talk