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Alyson Brien


Alyson Brien
Contact Details
Alyson Brien

Senior Lecturer

School of Art, Architecture & Design

0113 81 23299 A.Brien@leedsbeckett.ac.uk

About Alyson Brien

Artist and Lecturer studied BA Fine Art Degree at Gloucestershire College of Art and Design, MA at Chelsea School of Art was a Sculpture Fellow at Ulster Polytechnic. Residency at Grizedale Forest, worked as lecturer at Cleveland College of Art. Selected exhibitions of sculpture and drawing include: 'Sound of Colour’ exhibition with Varvara Sharova at Dean Clough, included in TRACEY drawing website at Loughborough University resulting inclusion in ‘Drawing Now: Between the Lines of contemporary Art edited by Downs, Marshall, Sawdon, Selby, Tormey’. Curated and coordinated 'After - Image', an exchange exhibition of sculpture and painting with Leeds Metropolitan University Dutch Erasmus partners at Academie Gallerie Minrebroeder Straat, 16 Utrecht, Netherlands. Exhibited inThe Incredible Exploding Pomegranate exhibition at new gallery in Salobrena El Cascino, La Conca Art Club, Valle de Lecrin, Granada Spain, 5th July to 13th September 2015.

Intuitive eclectic approach to Fine Art. Working in the areas of sculpture, drawing and collage, in response to informed research. Interested in flux, transformation, epigenentics and constant change. In connections between art, biology and archaeology, showing the world behind appearances, juxtaposing images and materials. Research and making, are two ways of thinking, which continually inter-cut one another, neither linear nor continuous, they involve a process of doing and redoing. Working with words, materials and devices helps to externalise perceptions. Ideas surface slowly, as if seen at the bottom of a very murky pond. Fishing without a net.

Define drawing broadly to include drawing in space, using three-dimensional materials, scissors and colour, as a form of energy. Currently interested in drawing imaginary forms, which simultaneously condense and disintegrate in the process of accumulation, erosion and are applied by hand and wooden drawing aids, Influenced by Tao idea of increasing and decreasing are not viewed as opposites but as a necessary part of a unified process. Also believe drawing to be related to dance. Interested in discussion of stumbling and loss of control in relationship to dance, in Andrew Hewitt ‘s essay ‘Social Choreography’. Influenced by Elizabeth Price curation of the exhibition ‘In a Dream You Saw Away to Survive and You Were Full of Joy’ Sleeping/Working/Mourning/Dancing. Current general influences are Cy Twombly, Gego, Julia Jenny Cove drawings, Markus Lupertz paintings, Julia Mehretu drawings.

Presently working on a large series of more than 500 paper ‘Undertow’ collages. As a process, collage enables images to obscure, coincide, abut, merge and to inter-cut with one another, creating new condensed images. Collage allows one image to be hidden or half-revealed, behind another fragment, drawing attention to what has been removed and is out of the frame. They are a form of drawing and a static film. Influenced by Wagnai Matau, Hannah Höch.

Currently continuing to make a fifth sculpture, in a series of large laminated, wood forms,covered in half white ground and painted, four of which were exhibited in ‘Sound of Colour’ exhibition. Research is developed by photographing emergent forms, reading and visiting exhibitions. Influenced by Phylida Barlow, Liadin Cooke, Antoni Tàpies.

Current Teaching

Currently teaching on BA (Hons) Fine Art Degree course:

  • Module leader FA4.1 Studio Practice A and B
  • FA4. 2 Critical Analysis A: Essay and FA4.3 Critical Analysis B Exhibition Review
  • FA5.1 Studio practice C and studio practice D.FA5.2 Critical Analysis C.
  • FA6.1 Studio practice E and Studio practice F and Critical Analysis D Extended Essay.

Research Interests

Currently interested in circular process of accumulation and destruction, in cloud formations, building sites, and ruins. Exploring way that accretion and erosion occurs simultaneously and continuously in space and through time. Logical analysis tends to separate and compartmentalise items. Visually it is more possible to show processes concurrently. Looking at the Japanese concept of MA, an indivisible state of time and space. Expressed as ‘not the object but the distance between them; not the sounds but the pauses they leave unfilled’. The relation of ‘Ma to space and time is not simply semantic. It reflects the fact that all experience of space is a time-structured process, and all experience of time is a space-structured process.’ Kyoto journal.

Fascinated with the amount of blindness and forgetting involved in memory and perception and In Japanese concept of ‘Boken’, or reverse perspective, the use of fuzzy images, ‘juxtaposition of disparate elements, the relations between which are not given but must be inferred,’ in which ‘gaps absences and silences are integral to paratactical organisation’ Victor Burgin. Like Burgin I am fascinated by links between inner and outer realities. Book ‘Formless’ Yve-Alain Bois + Rosalind Krauss. On Measuring Uncertainty’ Castlefield Gallery.

Impact of research has an effect on culture through teaching students and peers and the public in exhibitions and in discussions with artists and educators.

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