Gareth Polmeer is an artist, writer and lecturer.
He studied at the Royal College of Art (RCA) and Central Saint Martins and has exhibited works nationally and internationally. He holds a doctorate from the RCA and has published on film/video and digital aesthetics, presenting papers at conferences and symposia. Working with electronic media, music and videographics his work over the last decade has focussed on abstraction, colour and form.
He has worked as a university lecturer for 9 years across Fine Art, Moving Image and Design subjects (both theory and practice) and is currently a lecturer at the RCA (Critical and Historical Studies, since 2011) and at Camberwell College of Arts (Visual Theory, since 2009). Selected recent exhibitions include ‘Building Structures’ at the Victoria and Albert Museum (UK), ‘Four Modes of Anti-Image’ at the State Hermitage Museum (Russia), and ‘Durational Video’ at Northwest Film Forum (USA).
As a writer his interests encompass digital aesthetics, art history and post-Kantian German thought (centrally the work of G.W.F. Hegel). He has specific interests in humanism and the philosophy and aesthetics of nature.
BA(Hons), MA, PhD(RCA), PGCert(HE), FHEA
Royal College of Art, UK
Visiting Lecturer in Critical and Historical Studies.
PhD supervisor in Critical and Historical Studies. MA dissertation supervisor for postgraduate programmes in Visual Communication, Animation and Information Experience Design.
Camberwell College of Arts, UK
Associate Lecturer in Visual Theory.
Dissertation supervisor for undergraduate and postgraduate Illustration programmes, and postgraduate Fine Art Digital.
Leonardo Peer Review Panel, Manuscript Reviewer
Electronic Visualisation and the Arts Conference (EVA), Submissions Reviewer
Middlesex University, UK
Sessional Lecturer in Multimedia
University for the Creative Arts, UK
Lecturer/Senior Lecturer in Film and Video
Canterbury Christ Church University, UK
Sessional Lecturer in Digital Arts
James Cook University, Australia
Guest Lecturer in Arts and Media
London College of Communication, UK
Guest Lecturer in Film and Television
Absolute Clearness, Absolute Darkness: Hegel's Speculative Thinking. PROVA. No. 4. 2017. ISBN: 978-1-910642-03-0
Towards a New Video Poetics. In: VIDEO 1. London, Evelyn Yard. 2016.
Trees in Autumn. In: Hamlyn, Nicky. Payne, Simon., and Rees, A.L. (eds.) Kurt Kren: Structural Films. Bristol: Intellect. 2016. ISBN: 978-1-78320-551-6
Tree Again. In: Hamlyn, Payne and Rees (eds.)
Asylum. In: Hamlyn, Payne and Rees (eds.)
Film Unframed. In: Austrian Studies. Vol. 23. MHRA. 2015. ISSN: 13507532
Movement within Movement. In: VIDEO. London, Evelyn Yard. 2015.
Processes and Variations in Digital Landscapes. Electronic Visualisation and the Arts (EVA) Conference Proceedings, BCS, London. 2015. ISBN 978-1-78017-316-0
Motion to Becoming: Nature and the Image in Time. PhD thesis. Royal College of Art. 2015.
Sequences and Intervals. In: Leonardo Journal. Vol. 48, No. 2. 2015. Cambridge, MA: MIT Press. ISSN 0024-094X
Transient Landscape. In: Millennium Film Journal. Issue 61. New York: Millennium Film Workshop. 2015. ISSN 1064-5586
The Cinematic Map. In: Materiality of Time. London: UAL/LCC. 2015. ISBN 978-1-906908-34-8
The Cinematic Map. In: Troubled Waters. London: Camberwell Press. 2013. ISBN: 978-1-908971-14-2.
States of Flux. In: MIRAJ, Moving Image Review and Art Journal, Volume 1, Issue 2. 2012. Bristol: Intellect. ISSN: 20456298.
About Now MMX (excerpt). In: One More Time, Catalogue, London: London Met University. 2011.
About Now MMX (excerpt). In: Media City Film Festival, Catalogue, Windsor, Canada. 2011.
The Cinematic Map: William Raban's About Now MMX. In: Tengen Magazine, Issue 3. London: UCL. 2011.
Impermanence and the Image of Trees: Hegel, Dialectic and the Experience of Nature. German Research Seminar, King's College London. 2016.
‘Immanent Movement’: Hegel’s ‘speculative thinking’ and questions of meaning in German Philosophy. Humanities Research Forum, Royal College of Art, London. 2015
Processes and Variations in Digital Landscapes. Electronic Visualisation and the Arts (EVA), British Computer Society, London. 2015.
Screen Time, Screen Space - Cinema and/as Gallery Art (co-convened session). Association of Art Historians conference. Royal College of Art, London. 2014.
Fragment/Continuum - Disunity in Cinematic Time. Unity/Disunity Conference. University College London. 2013.
Experimental Film and the Architectonics of Light. Association of Art Historians conference. University of Reading. 2013.
Re-temporalising Time: Motion and Intervals in Experimental Film. Fast/Slow: Intensifications of Cinematic Speed. Anglia Ruskin University. 2013.
States of Flux. Visual Communication Research Symposium, Royal College of Art. 2013.
Adorno, Nature and Film. Marx and the Movies conference. University of Central Lancashire. 2012.
Reviews and Commentaries on Works
Nicky Hamlyn. Gareth Polmeer: New Work at Screenscapes (online review, 2014)
[Field/Variation (2014)] ‘…on a spatial/compositional level, the work is a kind of collage, in which an image is cut into very thin horizontal layers, which are reassembled into a different order. This same process also takes place in the temporal dimension, so that the lines from different moments in time are also displaced and repositioned. Spatial inversion and temporal reversal further remove the constituent lines from their original place and function, to create a mirror-formed loop, a mirror within a mirror… the work isolates and foregrounds the presentational form of the video image as compounded from lines. In cathode ray TVs, the image is scanned onto the screen in a series of left to right, top to bottom lines. In other words it is inherently linear. In modern flat screens and projectors, the pixels are always ‘on’, and their brightness is controlled by the rapid variation in the voltages applied to them, in order to change the composition of the image over time, i.e. to generate an apparently moving image…Polmeer’s piece turns more on the incipient abstractness of all images, but crucially extending this into an effect of temporal manipulation proper to time based images.’
Chris Welsby. Artist/filmmaker
‘[Sea (2011) is]…a way to mess with the digital image so that it is no longer separate from, and therefore looking in upon the landscape from outside…a sort of hybrid…where neither element can be separated…where representation and represented meet...Where does the working of the perceptual eye/brain mechanism stop and the photo-electric signal on the monitor start.'
Link > SELECTED WORKS AND IMAGES
Link > SELECTED VIDEOS ON VIMEO
May 2016. Contact: A Festival of Experimental Film and Video. Apiary Studios, London.
January 2016. Moving Still. Rough Print Gallery, London.
December 2015. VIIDEO, experimental video. Evelyn Yard Gallery, London.
October 2015. VIDEO, experimental video. Evelyn Yard Gallery, London.
October 2015. Edges and Intervals. Painting, Film and Video. Apiary Studios, London.
September 2015. 'Water-worlds: art practices and wet ecologies', Geographies of the Anthropocene, RGS-IBG Conference, University of Exeter.
July 2015, Building Structures, Victoria and Albert Museum, London.
June 2015, SHOW RCA, Royal College of Art, London.
June 2015, Seascapes. Royal College of Art, London.
February 2015, Four Modes of Anti-Image: Recent Experimental Film and Video from the UK - The State Hermitage Museum, St. Petersburg, Russia.
September 2014, Screenscapes - Landscape film and video, Nicosia, Cyprus.
July 2014, Durational Video - Northwest Film Forum, Seattle, USA.
May 2014, XVIIX online gallery of artists' film/video.
March 2014, Screenscapes - Landscape film and video, Apiary Studios, London.
Research, Exhibitions and Other Links
> Leonardo Electronic Directory
> RCA research
> RCA Repository
> EThOS online
> 'Contact' screenings